BFI | Sight & Sound | December 2005

December 2005

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Features

Script Special: The Man Who Wasn't There

Eliot Stannard wrote Hitchcock's ?rst ?lms and produced one of the earliest screenwriter's manuals. Michael Eaton heralds a forgotten pioneer of British cinema

Songs For Swinging Lovers

A lurid look at the dark side of a 1950s double act, Where the Truth Lies might seem an unlikely choice for arthouse talent Atom Egoyan. Yet Linda Ruth Williams recognises themes from the director's other work at play

Script Special: Screwball Thrills

Shane Black was Hollywood's superstar screenwriter in the 1980s and 1990s. As his directorial debut Kiss Kiss Bang Bang is released, Kim Newman salutes Black's brand of postmodernism for the masses. Plus, Black talks to Stephen Dalton

Script Special: I Was Buñuel's Double

Having written for Buñuel, Oshima and Forman, Jean-Claude Carrière is the auteur's screenwriter of choice. He grants Adam Preston a rare audience

Spellbound

Scott McGehee and David Siegel follow their acclaimed The Deep End with Bee Season, another probing drama of a family in crisis. The directors talk to Jason Wood

Honey-glow Girl

Julie Christie was the face of the 1960s. But the range of her performances across three decades outshines her reputation as an icon of swinging London. By Melanie J. Williams