🎬 #1 Bogdanovich and Poitier, two greats, two great films 😊
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FILM ONE: TO SIR, WITH LOVE 1967 James Clavell I remember seeing this film when I was maybe 12 years old. It was on late at night probably on BBC2 and my Mum was watching it. I sat watching along with her, loving every second even though I had no idea about telling a story with a camera, the politics or social commentary. I just loved the main character and the simplicity of the story. My opinion of the film hasn't changed at all. Struck even then by the noble performance of Poitier, he was the best kind of teacher anyone could ever want, much like Williams' teacher in Weir's 'Dead Poet's Society.' The film is even more impressive now because it and the film below are great examples of the camera not getting in the way. Every choice the director makes is in service of the story. They're not just being fancy for fancies sake. The technique is invisible other than a great montage sequence set to the title track by Lulu, who also stars in the film. One of the reasons my Mum was probably watching it.
🎬 #1 Bogdanovich and Poitier, two greats, two great films 😊
🎬 #1 Bogdanovich and Poitier, two greats…
🎬 #1 Bogdanovich and Poitier, two greats, two great films 😊
FILM ONE: TO SIR, WITH LOVE 1967 James Clavell I remember seeing this film when I was maybe 12 years old. It was on late at night probably on BBC2 and my Mum was watching it. I sat watching along with her, loving every second even though I had no idea about telling a story with a camera, the politics or social commentary. I just loved the main character and the simplicity of the story. My opinion of the film hasn't changed at all. Struck even then by the noble performance of Poitier, he was the best kind of teacher anyone could ever want, much like Williams' teacher in Weir's 'Dead Poet's Society.' The film is even more impressive now because it and the film below are great examples of the camera not getting in the way. Every choice the director makes is in service of the story. They're not just being fancy for fancies sake. The technique is invisible other than a great montage sequence set to the title track by Lulu, who also stars in the film. One of the reasons my Mum was probably watching it.