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Movie Review - Spring in a Small Town (1948)

SYNOPSIS: A wife, her husband, his sister and servant are visited by an old friend of the husband – a man who once was in love with his wife. All those fleeting moments. The rampant thoughts of what could be, or what could’ve been. Considered one of the masterpieces of Chinese cinema, it is surprising that we don’t hear more of Spring in a Small Town. Directed by Fei Mu, Spring in a Small Town was released in 1948, before the communist overthrow of China. This meant it was supressed and Fei Mu fled Hong Kong, dying only two years later. But it resurfaced in the 1980’s, as the China Film Archive opened it’s doors and

How a Scottish microchain is reimagining some of the country s finest small hotels

How a Scottish microchain is reimagining some of the country s finest small hotels The more remote parts of Scotland are in high demand this year – and a new venture will offer three luxurious bases from which to explore Scottish hotelier Gordon Campbell Gray is launching his first solo venture in Argyll Credit: The Pierhouse The time is right to lower the tone a little. While much of central London is reopening after Lockdown 3.0, and the ghosts of city workers haunt countless doomed branches of Pret A Manger, all I’ve wanted recently is a nice plate of fish and chips. Away. A simple thing done well for a reasonable price that delivers all the dopamine.

Lawrence of Arabia - RTÉ Arena revisits a screen classic

From Jerry Goldsmith to Bernard Herrmann: what makes a great film soundtrack?

From Jerry Goldsmith to Bernard Herrmann: what makes a great film soundtrack? As a Telegraph reader noted this week, the greatest film scores have long been intelligent and richly informed by classical music 16 April 2021 • 5:00am Can you hear the sound of Vertigo? Jimmy Stewart in the Hitchcock classic, scored by Bernard Herrmann Credit: Collection Christophel A reader’s letter this week pointed out the indebtedness of film scores to classical music. “Film composers may be awarded ‘best original score’ at the Oscars,” wrote Ian France, “but their art is always a synthesis of existing styles.” He singled out the great Bernard Herrmann, for his various homages to Jules Massenet and Richard Strauss (in Citizen Kane); the Bartók-esque rhythms of those diabolical strings in Psycho; and the striking resemblance of the love theme in Vertigo to Wagner’s Liebestod from Tristan und Isolde.

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