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Topic: Powell and Pressburger

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	Walton on Powell & Pressburger
		Discussions of Powell and Pressburger's films usually focus upon their aesthetically idiosyncratic nature, as a specific point of comparison to the so-called "social realism" or docudrama models of 40s and 50s British cinema.
		Moor's attempt to reconcile the "magic" of Powell and Pressburger outside of more traditional accounts of British cinema prompt valuable questions regarding just what constitutes national identity, as well as issues of aesthetic demarcation (in terms of genre, style and cinematic modes of narration).
		Given that there have already been so many historical (and auteurist) studies on the Powell and Pressburger relationship, a more sustained attempt to articulate the "magic" of their films in terms of their emotional or kinetic charge would indeed have made an important addition to the study of their work.
	www.latrobe.edu.au /screeningthepast/19/powell-pressburger.html (914 words)

	Walter Reade Theater, Lincon Center, NYC
		Powell's remarkable film about voyeurism, cinema, and the thin line between a passion for art and madness, was received with such harrowing negativity ("From its slumbering mildly salacious beginning to its appallingly masochistic and depraved climax, it is wholly evil") that he was more or less left for dead as a filmmaker.
		Powell and Pressburger reached the peak of their popularity, and artistic powers during wartime, which probably accounts for the fact that so much of their output was devoted to stories of war and espionage.
		Powell and Pressburger, beginning with a half-completed script, shot in the lowlands of the Fen country and, as always, kept the details as realistic as possible, making for a film as poetically charged and exciting as it is carefully observed.
	www.powell-pressburger.org /Trips/NewYork/20050506/NY01.html (3473 words)

	Michael Powell Emeric Pressburger Action Suspense Movies
		But at the same time, together and occasionally separately, Powell and Pressburger are responsible for about a dozen classic action, suspense or spy films that tend to get overlooked because of the excellence of their dramas.
		Pressburger received an Oscar for this story of the adventures of the remnants of German submarine crew shipwrecked in Canada who struggle to make their way to the neutral haven of the United States in early 1941.
		Powell was one of three directors but every aspect from Technicolor visuals to the action sequences to ain't-Duprez-gorgeous close-ups hits the mark.
	www.suspense-movies.com /directors/powell-pressburger (1389 words)

	Right Brain - #21 Apr/May 96 (Site not responding. Last check: 2007-10-21)
		Rather one might say that for Powell and Pressburger it is often love, on the loose and at large, that is a disruptive force of creation in their characters' lives, despite- and because of -their characters' efforts to control and create it.
		Pressburger was usually a moderating influence on the flamboyantly imaginative Powell-but not in this case.
		Powell's daring accomplishment is not that he made a film about art devouring a life, but that he invited art to devour his film, and still succeeded in absorbing us in the lives of his characters.
	www.washingtonfreepress.org /21/Reel.html (1111 words)

	Michael Powell \| Biography (1905-1990)
		Powell was born in 1905 near Canterbury, the site of one of his strangest films, A Canterbury Tale (1944).
		Powell and Pressburger began working together on The Spy in Black (1939), about Germans trying to penetrate the British naval base at Scapa Flow, with Conrad Veidt as Powell's first study of German decisiveness.
		The Red Shoes captivates young people because its zeal is so close to nightmare: the ballerina cannot stop dancing, and the impresario urges her to perform at the cost of her life and the love he cannot even admit.
	www.leninimports.com /michael_powell.html (1939 words)

	Powell and Pressburger - Wikipedia, the free encyclopedia
		Powell and Pressburger were the British film-making partnership of Michael Powell and Emeric Pressburger, also known as The Archers.
		Powell and Pressburger also co-produced a few films by other directors under the banner of The Archers: The Silver Fleet (1943), based on a story by Emeric Pressburger, and The End of the River (1947).
		Powell and Pressburger had a habit of reusing actors and crew members in a number of films.
	en.wikipedia.org /wiki/Powell_and_Pressburger (1035 words)

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		For in Powell and Pressburger’s films, cinema is amongst the central mechanisms through which national identity and character is celebrated, questioned and defined.
		Powell and Pressburger are now routinely championed as amongst the most significant and visionary filmmakers to have worked in British cinema.
		Of the three, Powell remains the most idiosyncratic, remarkable (and British) of British film-makers, and, particularly during his collaboration with Emeric Pressburger made more great films than was fully appreciated at the time but which are now finally recognised as national treasures.
	www.lycos.com /info/michael-powell--emeric-pressburger.html?page=2 (664 words)

	Michael Powell and Emeric Pressburger - Films by powell and pressburger:, Other films directed by powell:
		Powell chose his hues from a broad visual palette, and brushed them onto the screen with a calculated extravagance that became integrated into the themes of the film as a whole.
		Powell and Pressburger's visual and thematic extravagances of style conflicted with the self-consciousness of the film industry's strivings for a rigid postwar realism not to be embellished by colorful and expressionistic ventures.
		Powell, though, continued in the vein established by his collaboration with the Hungarian director.
	www.filmreference.com /Directors-Pe-Ri/Powell-Michael-and-Emeric-Pressburger.html (1794 words)

	Michael Powell & Emeric Pressburger
		Thus, the ‘difficulty’ of placing or situating Powell and Pressburger’s films is largely the result of their mixed and hybrid nature and the problems one encounters in trying to place them, even loosely, within one of these two basic traditions, and British cinema as a whole.
		It is therefore not surprising that Powell is often discussed as an anachronistic aesthete in mid-twentieth century British cinema; a director who throws together the perceived floridness of nineteenth century melodrama, the values of Victorianism, the self-consciously faked pictorial dimensions of Victorian-era, family-based studio photography and the technical flourishes of a magic show.
		Several of Powell and Pressburger's films can be said to skirt close to aspects of Powell's private life, blurring clear distinctions between the world in and of the film and between fictional narrative and other forms of a possibly more personal cinema.
	www.sensesofcinema.com /contents/directors/02/powell.html (3675 words)

	BFI \| Features \| Powell & Pressburger \| Fantastic life
		Pressburger, born 5 December 1902, Mikolc, Hungary, was almost penniless when a published short story brought him into the German film industry as a scriptwriter, working on early productions by Robert Siodmak and Max Ophüls.
		Theirs was a truly complementary partnership: Powell was English through and through, but with an international spirit and an imagination which owed nothing to English reticence; Pressburger brought the insights of an outsider, and had a delight in the language and culture of his adopted home.
		Powell was exuberant and confident; Pressburger shy, but with a fierce intelligence.
	bfi.org.uk /features/pilgrims/fantastic.html (1291 words)

	Static Multimedia - A Canterbury Tale (Site not responding. Last check: 2007-10-21)
		Powell and Pressburger, known under their corporate name as The Archers, were the great wizards of the British cinema.
		Powell and Pressburger manage to keep this slight notion alive for two hours by taking their time.
		Powell and Pressburger continually point this up with a complex pattern metaphors that quietly but effectively paint the dichotomy between past and present.
	www.staticmultimedia.com /content/film/reviews/dvd/review_1152839650 (1276 words)

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		In keeping with this, Powell and Pressburger’s films often deploy optic, panoptic and mimetic devices or mechanisms in order to represent notions of authorial vision, directorial control and sight.
		Powell and Pressburger were approached by the British Ministry of Information to make a film about minesweeping; 'That's First World War stuff.
		Powell and Pressburger’s film The Tales of Hoffmann explicitly foregrounds the themes of vision, direction and audio-visual control that dominate their work.
	www.lycos.com /info/michael-powell--powell-and-pressburgers.html (903 words)

	Emeric Pressburger - Wikipedia, the free encyclopedia
		Emeric Pressburger (Imre József Pressburger) was born in Miskolc, Hungary, and educated at the Universities of Prague and Stuttgart, he started out as a journalist.
		Pressburger was made a Fellow of BAFTA in 1981, and a Fellow of the BFI in 1983.
		Pressburger was also more involved in the editing process than Powell, and, as a musician, Pressburger was also involved in the choice of music for their films.
	en.wikipedia.org /wiki/Emeric_Pressburger (959 words)

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		Michael Powell (1905-1990) and Emeric Pressburger (1902-1988) wrote, produced and directed 22 films together and their work was deemed to be one of the greatest collaborations in the history of cinema, unlike anything else to have come out of Britain from the late 1930s to the early 1970s.
		Powell and Pressburger's films combine music, dance, painting, literature and photography, working across a number of familiar genres such as noir, melodrama, the war film, the ballet film, and the murder-thriller.
		Celebrating the 100th anniversary of Powell's birth, landmark films from his solo career will also screen, including The Edge of the World and The Red Shoes, reconstructed masterpieces such as Gone to Earth, the notorious cult classic Peeping Tom, and Antipodean odysseys such as They're a Weird Mob and the newly restored Age of Consent.
	www.afc.gov.au /newsandevents/mediarelease/2005/release_407.aspx (345 words)

	The Powell & Pressburger Collection DVD review
		Michael Powell and Emeric Pressburger; eleven syllables (including that very important 'and'), syllables which these fine men (in the sense of 'fine art') reduced to their company name, 'The Archers'.
		Powell was all Brit whilst Pressburger (also known as Preßburger in some circles) hailed from Hungary but was a serious anglophile.
		But it was their singular vision, (singular in both senses of the word) often times literally fantastic, that was to subtly change the way I regarded cinema even though I was born a mere five years after their last credited picture together.
	www.dvdoutsider.co.uk /dvd/reviews/p/powell_pressburger.html (417 words)

	Review, buy Powell, Michael & Pressburger, Emeric: The Small Back Room [1949], The Life And Death Of Colonel Blimp ... (Site not responding. Last check: 2007-10-21)
		Powell's technically masterful and innovative direction illuminates every scene, from the surprising camera move in the duel sequence to the hunting montage of stuffed animal heads on a wall.
		Powell and Pressburger's The Battle of the River Plate is an old-school British war film, which in telling the true story of a key naval engagement from early in WWII successfully balances factual accuracy with spectacle.
		The rest of the large cast is fine, and while the drama-documentary style marks a break from Powell and Pressburger's more impressionistic films, this nevertheless makes for a lavishly shot companion to their earlier wartime classics, The Life and Death of Colonel Blimp (1943) and A Matter of Life and Death (1946).
	ukvideos.net /powell-michael-and-pressburger-emeric (2875 words)

	the visionary cinema of powell & pressburger 3
		'The Archers', as Michael Powell and Emeric Pressburger called themselves, are amongst the greatest collaborations in the history of cinema.
		Powell's first major film deals with the inevitable evacuation of a inhabitants of a desolate Shetland Island.
		Powell and Pressburger's influential, dazzling and offbeat adaptation of Offenbach's opera of a student plagued by bizarre dreams.
	www.acmi.net.au /EFA847BB3759447994BD32046204AE8A.jsp (87 words)

	BBC - Radio 4 - Great Lives - Stacey Kent on Powell and Pressburger - 16 May 2003
		Michael Powel, the son of a hop maker, was born in Bekesbourn, Kent in 1905.
		Between 1931 and 1937 Powell made a number of 'quota quickies', film notable for their cheapness and speed of production rather than their quality.
		Born to middle class parents in Moklolc, Hungary in 1902 Emeric Pressburger was a multi-talented child (an amateur violinist and gifted mathematician).
	www.bbc.co.uk /radio4/history/greatlives/kent_powell.shtml (539 words)

	Michael Powell Biography
		A celebration of the British countryside and its heritage, A Canterbury Tale (1944) was savaged by critics, while an affectionate portrait of a blustering old gentleman soldier, The Life and Death of Colonel Blimp (1943) brought on its creators the wrath of a government led by no less a figure than Winston Churchill.
		As writers /producers/ directors, Powell and Pressburger retained total control over their productions, each of which was recognisably of their making.
		The enforced idleness of Powell's final decade and the frankly inferior quality of late efforts such as The Queen's Guards (1961) and Luna De Miel (1959) did little to damage his reputation among the British film community.
	www.britmovie.co.uk /directors/m_powell/biog.html (665 words)

	Michael Powell (director) - Wikipedia, the free encyclopedia
		Michael Latham Powell (September 30, 1905-February 19, 1990) was a British film director, renowned for his partnership with Emeric Pressburger which produced a series of classic British films.
		Powell was born in Bekesbourne, Kent, and educated at The King's School, Canterbury and then at Dulwich College.
		Powell's father, Thomas William Powell, was a hop farmer; his mother was Mabel (Corbett) Powell.
	en.wikipedia.org /wiki/Michael_Powell_(director) (990 words)

	A Michael Powell Centennial Celebration , a Series at Cornell Cinema
		Pressburger died in 1988 and Powell died two years later, but not before developing a close friendship with Martin Scorsese and falling in love with his editor, Thelma Schoonmaker, who has devoted herself to promoting his films and his writings since his death.
		Shortly after Michael Powell entered the business in the twenties, he collaborated on the script of Blackmail (1929), the first British sound film and one that was to make Hitchcock's career.
		Powell and Pressburger had similar problems in 1946 when American censors demanded that entire scenes be cut from Black Narcissus, which was the story of an erotically-obsessed nun, and again in 1948 when some British critics thought the ending of The Red Shoes was in bad taste.
	cinema.cornell.edu /series/powell.html (713 words)

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		Powell was probably the finest exponent of Technicolor - his films are saturated, drenched with wonderful colours.
		Both Powell and Pressburger thought in pictures and understood the power of the images in films to beguile and seduce.
		To dismiss Powell and Pressburger as 'spinners of fantasy', therefore, is far too simplistic.
	www.nickpage.co.uk /archers.html (754 words)

	Film Society - Walter Reade Theater
		Powell broke into the movies in the late 20s, and his first formative experiences were with the great, flamboyant Hollywood mythmaker Rex Ingram.
		Powell began his feature directorial career with what were then known as Quota Quickies - 4-reel pictures that were shot in a matter of days, the British equivalent of the B-movie or the Drive-In picture.
		Powell and Pressburger reached the peak of their popularity, and their artistic powers, during wartime, which probably accounts for the fact that so much of their output was devoted to stories of war and espionage.
	www.filmlinc.com /wrt_old/programs/5-2005/mpowell05.htm (3152 words)

	powellpressburger (Site not responding. Last check: 2007-10-21)
		Director Powell and screenwriter Pressburger’s first collaboration is a strikingly dark espionage tale with debonair Conrad Veidt as a German agent sent to meet fellow spy Valerie Hobson in the Orkney Isles, setting in motion a plot to destroy the British fleet.
		Powell’s first film for producer Alexander Korda, co-directed with Adrian Brunel and Brian Desmond Hurst, the rarely-seen LION HAS WINGS was hurriedly produced to bolster British morale at the onset of World War II.
		Powell and Pressburger’s exquisite (and surprisingly erotic) drama of spiritual devotion and earthly temptation stars the luminous Deborah Kerr as a nun nearly overwhelmed by the physical beauty of her new Himalayan home, and the worldly charms of rugged David Farrar.
	www.egyptiantheatre.com /archive1999/2002/powellpressburger.htm (1773 words)

	A life in transition: 2 films by Michael Powell: Arts & Entertainment: The Seattle Times
		Both films are relative rarities in the Powell canon — "the oddball ones," in Schoonmaker's words, both coming at transitional times in the filmmaker's career.
		Powell and Pressburger turned to the producer Alexander Korda, who "had spent a lot money buying rights to movies," said Schoonmaker.
		The film shoot was an opportunity for Powell to revisit his past — though born in Kent, his parents were from Wales, and he remembered the Gypsies who would come to his father's farm to harvest hops.
	seattletimes.nwsource.com /html/artsentertainment/2003568963_powell13.html?syndication=rss (1034 words)

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