Otto Preminger
28 connections found
Filmography
Porgy and Bess 1959 
Forever Amber 1947 
Angel Face 1953 
Laura 1944 
The Moon Is Blue 1953 
Bonjour Tristesse 1958 
The Court-Martial of Billy Mitchell 1955 
The Man with the Golden Arm 1955 
Carmen Jones 1954 
Exodus 1960 
Saint Joan 1957 
In Harm's Way 1965 
Bunny Lake Is Missing 1965 
Anatomy of a Murder 1959 
Whirlpool 1950 
Daisy Kenyon 1947 View:
Connections, in both directions
Virgil becomes obsessed with the unseen Claire, in a manner reminiscent of the hard-bitten Dana Andrews falling in love with the painting of Gene Tierney in Otto Preminger's " Laura ".
Polanski observes it all with matchless camerawork reminiscent of Preminger (Saint Joan), following characters up and down stairs and into corridors, floating on their malice.
It’s a sort of science-fiction riff on the old film-noir classic Laura, where detective Dana Andrews finds himself falling in love with the portrait of a woman (Gene Tierney) whose murder he’s investigating, probing her life through the flashback reminiscences of her associates.
…even if its romance is essentially a time-travel variant on the classic 1944 Otto Preminger film, Laura.
Hacksaw Ridge (2016)
Directed by Mel Gibson
influenced by The Court-Martial of Billy Mitchell (1955)
Visuals
El filme tiene todo el sello del actor y director australiano, quien muestra además su capacidad como un cineasta lleno de recursos no sólo para referenciar los dramas de guerra clásicos en sus texturas y puesta en escena –la primera parte de su cinta parece hecha en los años 50–, sino también para abordar los elementos psicoanalíticos propios de aquella época, lo que incluye un breve juicio marcial a la manera de The Court-Martial of Billy Mitchell (1953), de Otto Preminger.
The plot, which may also remind movie buffs of Otto Preminger’s 1944 film noir classic “Laura,” will further involve protesters, smog, a porn film featuring people who are turning up dead, a suspect DOJ investigation, a hit man named John Boy (Matt Bomer) who has a birthmark, and unicorns.
That can work on film, as shown by another beauty, Gene Tierney, in “Laura” and “Leave Her to Heaven,” but the scheming of Tierney’s heroines was matched by a rare, ornate febrility in the movies themselves.
At one point, the film seems like it might be moving in the direction of a classic psychological female thriller in the vein of “Bunny Lake is Missing,” or “Repulsion,” where female emotion is pathologized and mocked.
Sorkin’s didacticism is often his own worst enemy, but he mostly keeps his worst instincts in check here, and there are times when he almost seems to channel the great Otto Preminger, whose Anatomy of a Murder is perhaps the gold standard for courtroom dramas.
The courtroom thriller used to be a staple of big-studio "adult" product, and the genre produced some notable --Â some would have said "important" --Â pictures over the course of its long heyday, from " Witness for the Prosecution " and " Anatomy of a Murder " in the '50s to " The Verdict " and, God help us, " Jagged Edge " in the '80s.
After all, Paul Newman had to struggle to stay sober in “The Verdict”; James Stewart had to go against a big-city lawyer in “Anatomy of a Murder.”
"Mamma Mia!" is the debut feature film of British stage director Phyllida "Keep Your Day Job" Lloyd, but it feels more like a movie made by a karaoke machine than a human being: We're constantly being reminded what a great time the cast is having, particularly the women, as they cavort and mug before us, swinging their swishy skirts and throwing their heads back as if they truly believed they were channeling Dorothy Dandridge in "Carmen Jones."
The ranks of the undone include Terry Gilliam’s The Man Who Killed Don Quixote (although the indefatigable Gilliam is currently mounting another attempt), Stanley Kubrick’s much-rumored Napoleon picture, Otto Preminger’s Genesis 1948 – the announced but unshot prequel to the director’s own Exodus – and enough nonexistent Orson Welles projects to merit another half-dozen phantom hagiographies.
From its opening sequence, with credits revealed under pieces of torn paper in a style that evokes the Saul Bass-designed titles of Otto Preminger’s 1965 thriller Bunny Lake is Missing, J.A. Bayona’s The Orphanage is not afraid to flaunt its influences.
Still, it's a solid, if unexceptional dramatic thriller about adult behvaior; minor cinema lifted up on the shoulders of one of the year's best movie star turns, and if it's not likely to stand up as a genuine classic, I can readily see it joining the ranks of The Lost Weekend and The Man with the Golden Arm in the annals of pretty much okay stories of addiction.
But Eilis’ quandary is both anguished and carefully judged, not far from the one in “Daisy Kenyon,” in which Otto Preminger treated a love triangle like a judge considering a legal case.
Beautiful Boy (2018)
Directed by Felix van Groeningen
influenced by The Man with the Golden Arm (1955)
Themes
Even the best of them — Billy Wilder's 1944 "The Lost Weekend," with Ray Milland dragging his typewriter up Third Ave. to hock it for the price of a drink, or Otto Preminger directing Sinatra as 1955's "The Man with the Golden Arm" — come off as less than the whole story to this survivor of a household ruled by a mean drunk of a British father.
It’s not so much a guilty pleasure as a “Why Not?” experiment, as though Feig melted down Laura (1944) and decanted it into the Bridesmaids mold just to see what would happen.
It isn’t the familiarity of what transpires, even great addiction dramas like The Lost Weekend , The Days of Wine and Roses , The Man with the Golden Arm , Clean & Sober , and 28 Days can only play variations on a similar theme as far as their central components are concerned, it’s the direction Braff takes his characters that’s so gosh darn insulting.
Mulan, played by willowy screen veteran Liu Yifei (“The Forbidden Kingdom,” “In Harm’s Way”) is the daughter of a former soldier (Tzi Ma of “The Farewell”) and a mother (Rosalind Chao, “The Joy Luck Club”) who have to remind her — constantly — that “a daughter brings honor (to the family) through marriage.”
However, now they’re taking on personas evoking characters from titles like Anatomy of a Murder or All the President’s Men.
Teenage Sex and Death at Camp Miasma (2026)
Directed by Jane Schoenbrun
influenced by Anatomy of a Murder (1959)
Visuals
Like Anatomy of a Murder, Catch Me If You Can, or The Cremator, Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma immediately alerts viewers they’re about to watch a classic through an extraordinary opening credits sequence.