Dailies is a round-up of essential film writing, news bits, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
The New York Times‘ Michael Cieply on Warren Beatty’s long road that is his Howard Hughes movie, which could be ready this year (and is one of our most-anticipated):
An incurable tinkerer, Warren Beatty was at work again last weekend, shooting a scene for a 40-year passion project whose status is almost as mysterious as its subject: the industrialist Howard Hughes.
By habit, Mr. Beatty often returns to an almost finished film to pick up some detail, even a small one — say, the image of a dog walking past a door. This time he was back, working on a picture, still untitled, that he began in 1976 and for which he is the writer, director, producer and star.
Watch Kent Jones discuss François Truffaut‘s influences:
BFI‘s Samuel Wigley revisits Les Enfants du paradis on its 70th anniversary:
In British cinema, we have Brief Encounter (1945). American film has Casablanca (1942) and Gone with the Wind (1939). In France, meanwhile, the romantic film par excellence will always be Marcel Carné’s epic Les Enfants du paradis.
Seventy years after it premiered at the Chaillot Palace in Paris on 9 March 1945, this sweeping tragedy of France’s 19th-century theatre world remains within the pantheon of cinematic heartbreakers. Carné’s film brims with vitality in its tribute to love, Paris and the stage, at the same time that it courses with sadness at the idea that not all of us will end up with the ones we love.
Film School Rejects‘ Landon Palmer on Chappie and the curse of a distinctive debut:
According to such reviews, Chappie isn’t only about Chappie – or, its importance doesn’t extend only to the particular qualities or lack thereof within this film exclusively. Chappie is about the efficacy of Blomkamp’s career as a potentially inventive voice in studio-level science fiction. Chappie is about Blomkamp’s upcoming Alien movie. Chappie is about how we recognize talent and vision, and how that initial recognition becomes refuted or repeated with subsequent work. It’s about the difference between an auteur and a one-trick filmmaker.
The empty spaces of PTA’s ‘Inherent Vice’ http://t.co/O7s38SM2Ka pic.twitter.com/E7wcbRTJUy
— The Film Stage (@TheFilmStage) March 11, 2015