Talk:Powell and Pressburger

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[edit] Move from The Archers

I 'moved' this page from The Archers (film production) by copying the content and adding a redirect to the old page. In fact, I should have renamed it. See the original page for the initial history of this article. Jihg 12:26, Jan 5, 2005 (UTC)

[edit] My Edit

"There are contemporary echoes in the Dogme 95 manifesto."

Listen, your love of Dogme 95 is commendable. However, not everything relates to it. The films of Powell and Pressburger are different than that of Lars von Trier. It would be like quoting something from Ingmar Berman and stating that is how Steven Spielberg feels as well. He may feel that way but that is beside the point. Let's just talk about these great films by Powell and Pressburger and leave it at that.

It only said that there were contemporary echoes. Of course the films are different, nobody suggested otherwise. When I saw that comment, entered by somebody else, I thought it was an interesting comparison because they are about the only two groups of film-makers that have set out a manifesto like that. SteveCrook 09:37, 20 February 2006 (UTC)

What about the Chaplin, Griffith, Fairbanks, and Pickford when they founded United Artists? They made a similar statement. There are many filmmakers who have stated similar things but don't call them manifestos. The Archers's films are highly expressionistic. Dogme 95 denounces expressionism. Now, I have my problems with Dogme 95, however, this is a free country and you can choose what films to like. However, NOT EVERY WIKIPEDIA ARTICLE NEEDS A CONTEMPORARY REFERENCE!!! Don't try to make comparisans between two completly different things!!!

[edit] Greatest legacy?

Artihcus022 added a paragraph: Without a doubt, their greatest legacy is their pioneering use of the technicolor process as attested by the visual slendour in The Life and Death of Colonel Blimp, A Matter of Life and Death, Black Narcissus, The Red Shoes and The Tales of Hoffmann. Is that "without a doubt" their greatest legacy? What about all their other legacies? Their B&W films like Forty-Ninth Parallel, A Canterbury Tale, I Know Where I'm Going!, The Small Back Room etc. Their "crusade against materialism" and the documentary movement that was so prevalent and beloved of the critics at the time. What about their fearless introduction of raw emotion, art and so many other subjects into their films? What about their strange and unique way of working? Not only the joint credit but the whole company of The Archers and their regular stable of actors. What about their total independence from the studio system (for as long as they could)? I think that all of those things are great legacies which have inspired admiration and wonder in their audiences, many of whom are film-makers. -- SteveCrook 21:02, 2 August 2006 (UTC)