Hitchcock on ....

Dressing Eva Marie Saint for NORTH BY NORTHWEST:

Pearls of wisdom from Alfred:
"Suspense is like a woman. The more left to the imagination, the more the excitement. Audiences are more enjoyably scared when they think about rather than see mayhem.
The conventional big-bosomed blonde is not mysterious. 
Audiences like romance with their mystery. They always want to know "where does the girl fit in?"
Movie titles, like women, should be easy to remember without being familiar. 
The perfect "woman of mystery" is one who is blonde, subtle and Nordic, like Eva Marie Saint. How to achieve this mystery? By what she says, by the way she dresses, and by her actions. 

"I suggested she be dressed in a basic black suit (with a simple emerald pendant) to intimate her relationship with Mason; in a heavy silk black cocktail dress subtly imprinted with wine red flowers in scenes where she deceives Cary; in a charcoal brown, full-skirted jersey and burnt-orange burlap outfit in the scenes of action.

The intention was that she be dressed brightly while the mood of the scene was subdued - and quietly while the mood was exciting. A simple matter of contrasts. After all, she plays a woman of mystery - and no woman is a mystery unless she keeps people guessing."

From a 1959 interview in  "Films & Filming".

Well, we knew Hitch loved dressing up his leading ladies - Janet Leigh as Marion Crane had to make do with shop clothes a secretary would buy, but Hitch must have had a lot of fun dressing his new discovery Tippi Hedren for THE BIRDS (that famous green suit!) and MARNIE. He and Saint had a lot of fun creating the sleek look for Eve Kendall. Below: Eva dressed for the climax of NBNW in that fabulous house created for the film, right by Mount Rushmore! 

Sunday fun: 1 - Ozon double bill ...

A friend is calling this afternoon so we are going to have a French comedy double bill - Francois Ozon's delicious POTICHE from 2010, and his 2002 all-star comedy, 8 WOMEN. I have blogged about them before here (Ozon, Deneuve labels). Deneuve is quietly hilarious as the now rather portly trophy housewife who has to take over the family umbrella factory when her obnoxious husband (Fabrice Lucini, above with Deneuve) antagonises the workers and then has a a stroke ..... Catherine comes to the rescue, re-organises the factory, gets re-acquainted with her former love, Gerard Depardieu, and then has to deal with the treachery of her husband and daughter. But her son Laurent (Jeremie Renier - no, not Jeremy Renner) helps her both at the factory, where he designs new umbrelleas, and then to become elected to local government. It is amusing to see Laurent, below, getting gayer scene by scene as the movie progresses .... 

Catherine too is blissfully funny out jogging in her tracksuit and noting nature all around her. Its a treat, and that 1970s ambience is perfect too. 

8 WOMEN is marvellous too with all those colours, and those actresses - Deneuve, Fanny Ardant, the elderly Danielle Darrieux, Beart, Huppert, Ledoyen, Seigner, in their element. 

The very prolific (and, like Pedro Almodovar, openly gay) Ozon ( right) has come up with some films we like a lot: the very affecting TIME TO LEAVE and UNDER THE SAND, the intriguing THE SWIMMING POOL, and the recent amusing DANS LE MAISON .... (Ozon, French labels). 

Sunday fun: 2 The Mirror Crack'd.

What fun to get up Sunday mornng, and see THE MIRROR CRACK'D on early tv. I just have to include this hilarious scene when Taylor and Novak try to out-bitch each other. For priceless camp its  almost as good as that scene in VALLEY OF THE DOLLS when Helen Lawson (Susan Hayward) and Neely O'Hara (Patty Duke) meet in the powder room .... (Trash label).

THE MIRROR CRACK'D though is the clunkiest of those all-star Christies, always good for a laugh, with the '50s period detail laid on with a trowel - it lacks the wit and fun of EVIL UNDER THE SUN or DEATH ON THE NILE. Liz and Kim seem to be enjoying themselves while Hudson and Curtis seem sadly diminished, and Angela Lansbury is a very odd Miss Marple.  .... (see Christie label).  

More old movie mags 2: Dirk's & Rock's "romances" !

It is too easy to laugh now and make fun of those 1950s fan magazines - we all know the American ones, but the British ones are fascinating now too, particularly those ones where they had to concoct romances for closeted stars like Dirk Bogarde and Rock Hudson. Dirk and Rock of course both knew everyone, but how to explain they were still bachelors ...? Pity the (un-named) hacks who had to come up with these stories! and the fans who lapped them all up back in 1958, were they so naive then?

It seems Dirk was in love with Jean Simmons all along - who knew! (they made a film, SO LONG AT THE FAIR, in 1950) and was shattered when she went off and married Stewart Granger, so Dirk never got over it, as he posed for moody photographs on his various country estates ... and was comforted by his girl pals like Judy Garland, Kay Kendall, Capucine, Ava Gardner, Anouk Aimee, and later Charlotte Rampling and Jane Birkin, as he worked with all the new talent of the Sixties and Seventies. 

The Dirk Life Story in Pictures is a delirious 1950s comic strip, there is more of it at Dirk comic strip label ... Click on images to enlarge ...

These writers create imaginary dialogue exchanges between Rock and Phyllis Gates, the woman he married for a year (his agent Henry Willson's secretary), and concocted their own version of what when wrong in their troubled marriage. Phyllis it seems was too extravagant!
Lets quote some of this deathless prose:
"But, unfortunately, harmony did not reign in their mountain-side home for long. Soon the rumours started - Rock and Phyllis were not hitting it off so well. The marriage was cracking.
Hollywood know-alls said the trouble stemmed from Phyllis's extravagance. It was true that she loved to go shopping. And after all, why not, when Rock had so much money?
One night, Rock came home tired and hungry, from an exhuasting day at the studio. He pushed open the door. No Phyllis. He went through the house calling for her and at last he found her in the bedroom, trying on a black chiffon evening dress. 
She turned to him with stars in her eyes. "Look at it Rock" she cried. "Isn't it just the most stunning gown you ever saw?"
Rock raised a hand to his brow. "Wait a minute" he said, "you bought an evening gown last week. You haven't even worn it yet, and now this today".
The stars faded from Phyllis's eyes ... "But honey, don't you understand, soon I shall wear both of them. When we go out in public again". 
"I've told you before", Rock stormed, "I don't want us to start dragging round to nightclubs and premieres".
And so such a comparatively small thing as a new evening dress started off a first-class row.
It sparked off the other major difference between them. Phyllis liked the do the Town occasionally. Rock preferred to stay at home.
Perhaps he liked to have the chance because his film commitments so often took him away from home.
When he went to Europe to make A FAREWELL TO ARMS it was understood that Phyllis would join him. They both looked forward to this immensely for it would mean a second honeymoon.
And then a couple of weeks before Phyllis was due to leave for Italy, Rock received a letter.
"Rock, darling, I've just rented a beautiful house at Malibu Beach for us both. You can swim all day long ...!
Rock was furious. He rushed to the phone.
As soon as he heard her voice, he started to storm. "Phyllis, its me, Rock. Now what do you mean by renting a house without even consulting me?"
Phyllis's voice was cajoling at the other end of the line. "But, honey, its the loveliest house you ever saw. You'll adore it..."
Rock's voice was grim. "I'm not taking any house I haven't seen. Why didn't you consult me? I am the man in this family."
Phyllis's voice rose. "And I'm a grown woman. Why do I have to ask your permission for everything? A house is a woman's business. All I did was -"
Finally, they hung up on each other. Rows at home were bad enough, but rowing with thousands of miles between them - this was disastrous. 
It was also the beginning of the end ......"
There are pages more in in that vein. There was also a "vivacious" script girl named Betty Abbott whom Rock was captivated by, if Betty ever existed - they certainly deserve an award for artistic licence! Other stories in this fan mag are fictional accounts of Tony Curtis and Janet Leigh at home, and Montgomery Clift's impossible love for Elizabeth Taylor, with lots of juicy dialogue scenes ! Its priceless.

At least Dirk never went through a sham marriage - he and Rock were both filming in Italy in 1957, and as I have posted here before, they met for a photo op, and no doubt amused themselves discussing the sizes of their respective closets .... AND Rock browses through Dirk's March 1957 copy of "Films and Filming"!

More old movie magazines 1

We got another selection of old 50s and 60s movie magazines - those quality British ones: "Films & Filming" and "Sight & Sound", and a few "Plays & Players". - I had that 1972 one, on American theatre, with Bacall on the cover, and an interview with Tennessee Williams.  I saw that 1980 HAMLET too at the Royal Court, it was a highly praised production at the time, with Jonathan Pryce and Jill Bennett - I must return to that when I get around to all those Hamlets ...

The film ones also have interesting interviews with the likes of Hitchcock, Bergman (Ingmar), Fellini & Antonioni. At least I can scan and preserve them ... I like that cover with Belmondo (THE MAN FROM RIO), and Lee Remick in SANCTUARY, and Coward and Guinness in OUR MAN IN HAVANA, and Julie Christie with gay photographer pal Roland Curram in DARLING. These capture that mid-60s vibe nicely, like those ones with Monica Vitti as MODESTY BLAISE or David Hemmings in BLOW-UP.

For the weekend 1

We still look in at GLEE, its more interesting now that some of the leads are trying to make it in New York. They did some Sondheim songs the other week, and I like this zany version of "Broadway Baby" by the sometimes annoying Rachel (Lea Michele) and the twinkling adorable Blaine (Darren Criss). Teacher Whoopi was not amused though, as she did not specify a duet. Kurt (who had been mugged) did a peculiar version of "I'm Still Here" (Its on YouTube)..... see  GLEE label for a vintage episode. 

For the weekend: 2: Peter, Romy, Audrey

Some nice shots of Peter and Romy during the filming of our cult favourite WHAT'S NEW PUSSYCAT? in 1965.

Then there's Peter and Audrey in 1966 HOW TO STEAL A MILLION, and then Audrey and Romy among the all-star line up in the '70s Trash Classic (which I really must have another look at one of these days) BLOODLINE ... (with Omar, Irene Papas, James Mason and Ben Gazzara). More on these at the labels ...

For the weekend 3

A blast from the past: 1960s CORONATION STREET, Britain's longest runnng soap (it began in that seminal year 1960), and its still going now with great characters and story lines. Here's veteran battle-axe Ena Sharples (Violet Carson) having a slight argument with the brassy Elsie Tanner (Pat Phoenix). Its those early '60s in aspic ....

A French double bill, with Blain & Deneuve ...

LES AMIS, 1971. Can one truly comprehend a talky movie in a foreign language, without sub-titles?. This fascinating oddity by French actor Gerard Blain is only available it seems on YouTube in French (there is also a French only dvd). It is a languid, moody piece which one can enjoy if one gets in the rhythm of it. Is it an undiscovered gay classic or another semi-autographical film by a popular actor?  Blain (1930-2000) was in those early Chabrol films like LE BEAU SERGE and LES COUSINS, and in other films like Hawks’ HATARI!. 

Gerard Blain

His first film as director, LES AMIS (The Friends) features an attractive young man, who looks rather like Blain himself, and his relationship with an older man. We see Philippe (Philippe March) at the start having his brown shoes polished, which match his yellow socks. Then he looks at clothes in a shop window – this is a young man who appreciates the finer things in life. Then he is in an expensive restaurant with his older friend, a wealthy businessman, who is also happily married. Nicholas (Jean-Claude Dauphin) returns to his country estate, with a present for his wife ….. It seems the two men have a secret relationship which benefits them both. Philippe lives with his busy mother who is always sewing or cleaning, while Nicholas finances their holiday away at the seaside, and leaves him enough money for his horse-riding lessons and hanging out with the local rich kids, when he has to return to the office. 

From what I gather Blain himself was bisexual in his youth and also had an older protector, so maybe this is his roman a clef about that. Philippe is actually heterosexual, and Nicholas does not object or put barriers on his pursuit of an attractive blonde. This relationship is obviously benefiting Philippe, as the older man teaches him and guides him and helps him to get ahead. Some scenes though go on rather too long, like Philippe and the blonde in that car,  then next scene, he is back sharing a hotel double bedroom with Nicholas (there is nothing explicit, it is all very tasteful), and then seemingly making a good impresson on the blonde’s family, until she finds someone else ….

SPOILER AHEAD: Truffaut liked the film and gave it a good review in his THE FILMS IN MY LIFE (I must see if  I still have my copy), and maybe hommaged it in his 1973 LA NUIT AMERICAINE (DAY FOR NIGHT) with what happens to his older man, Jean-Pierre Aumont, who also turns out to have a handsome young man in tow, Aumont though is killed in a car crash, a similar fate for Nicholas here ….. Is that how the French saw gay relationships in the ‘70s? – wealthy older men keeping younger ones, but not allowed to have a happy ending ….. Whatever, Blain’s film charms and keeps our interest, and is another fascinating European oddity from the ‘70s. Having now read Truffaut's review he says the older man gives the younger "the security, comfort and tender affection he craves"! It certainly helps to be rich ...

APRES LUI, 2007. One of those solid, well-crafted French family dramas. This time Catherine Deneuve is Camille, the mother of a teenager who is killed in a car crash – his best friend Franck was driving the car and the mother now focuses all her energy and attention on him wanting him to finish his exams, and offering him a job in her bookshop. Her daughter and ex-husband are baffled by her behaviour as are her late son’s other friends, as she tries to hang out with them, going to rock shows, drinking beer etc. Anyone who has been bereaved will understand this - she wants to do what he did to keep him close to her, to almost be him. The boy (Thomas Dumerchez) seems uncommunicative and baffled by it all. Finally events go too far as they burn down the tree he crashed into and they are taken into police custody. 
Its perhaps a meditation on how people cope with grief, rather like the Italian THE SON’S ROOM by Nanno Moretti. Deneuve is a sterling presence here in another good late role for her and it is ably directed by Gael Morel, who played the lead in Techine’s LES ROSEAUX SAUVAGE (WILD REEDS) (reviewed here at gay interest label) and has directed other films too, I am looking at his THREE DANCING SLAVES soon. Morel co-wrote the script here. Its absorbing though the ending is rather inconclusive. 

RIP, continued

Richard Attenborough (1923-2014) aged 90, later Lord Attenborough. Who would have thought that the young actor playing his first role as the scared sailor in Lean and Coward's IN WHICH WE SERVE in 1942 would go on to have such an enduring career as actor, director, producer and represent the British film industry. Busy acting throughout the '40s, '50s and '60s - he is also one of the airmen in my favourite A MATTER OF LIFE AND DEATH. BRIGHTON ROCK is an enduring classic where his Pinky still chills - he and his wife Sheila Sim were established by the early '50s (both were in the first cast of THE MOUSETRAP, still runnng now) and he was one of those BOYS IN BROWN along with Dirk Bogarde, it was fun to catch up with that last year.. I liked his late '50s movies like SOS PACIFIC, JET STORM, I'M ALRIGHT JACK, THE LEAGUE OF GENTLEMEN. All the gushing tributes ignored all his acting roles in those '50s programmers. 
He went into production with pal Bryan Forbes as they formed Beaver Films setting up their own projects like THE ANGRY SILENCE (a good discovery this year), WHISTLE DOWN THE WIND, SEANCE ON A WET AFTERNOON (where he delivered another powerful peformance. He was in THE GREAT ESCAPE, GUNS AT BATASI, THE SAND PEBBLES and later 60s roles included DR DOLITTLE and two with Lee Remick (Inspector Trustcott in the dreadful film of Orton's LOOT, and A SEVERED HEAD from the Iris Murdoch hit), he was another chilling murderer in 10 RILLINGTON PLACE and in Satyajit Ray's THE CHESS PLAYERS. 

He then directed his first film OH WHAT A LOVELY WAR (one to re-visit) with that astonishing cast (Maggie Smith and Vanessa Redgrave were standouts) and powerful images - in those pre-computer graphic years all those white crosses at the end had to be placed by hand). GANDHI of course in 1982 brought him the Best Director Oscar and was best film, I am looking forward to seeing it on Blu-ray soon, and CRY FREEDOM, A BRIDGE TOO FAR, YOUNG WINSTON, MAGIC, SHADOWLANDS, were all successful - less so were his A CHORUS LINE and his film on Chaplin. 
Lord Attenborough was also very busy behind the scenes, being on the boards of many organisations like Channel 4, the BFI, and Chelsea Football Club, as well as lots of charitable organisations. He returned to acting for Spielberg in JURASSIC PARK. His enduring popularity ensured that he had, for over half a century, played an integral part in British cultural life. 
I found myself standing next to him and his wife at the BFI in 1970, as we waited for the Dirk Bogarde lecture, and he chatted away to me and signed my programme. In declining health in recent years, and having lost his daughter and grand-daughter in the 2004 tsunami, he and Sheila had moved to a retirement home. The BBC had prepared an hour long tribute which they screened this week, highlighting his varied careers and the affection and high regard in which he will continue to be held.  

Sandy Wilson, another 90 year old - English composter and lyricist, best known for his THE BOY FRIEND, that 1920s pastiche which has been very successful over the years (and which gave the young Julie Andrews her first success), and Ken Russell filmed it in 1971, though Wilson hated that version! Set in Mme Dubonnet’s finishing school on the French Riviera, The Boy Friend concerns a group of Bright Young Things intent on snaring “that certain thing called the boyfriend” — a lightweight plot which served mainly as aframework for a series of catchy songs, including It’s Never Too Late To Fall In Love, Won’t You Charleston With Me and I Could Be Happy With You.

End of summer repeats: Millie, Pulp Fiction, Aviator ...

"In the Ritz elevator you just go up and down"

It seems like the end of summer here in the UK, as we face our second day of incessant rain, washing out a bank holiday yesterday, and much cooler weather - we were moaning about the heatwave the other week, but the nice thing about UK weather is that it changes all the time .... it may be a warm September and late autumn ... meanwhile, those tv repeats keep coming. It was bliss to chillax once again yesterday, with THOROUGHLY MODERN MILLIE, 

a favourite musical ever since my best friend Stanley and I saw it during its first run, at the old (then new) Odeon in St Martins Lane, London, in 1967 - as per my other reports on it here .... its certainly my favourite Julie Andrews film, I love the look of it, the great pastiche of the 1920s, Julie, Mary Tyler Moore, Bea Lillie as Mrs Meers with all those great lines we loved and repeated all the time ("Just a restless girl", "sad to be all along in the world", "please go, enjoy yourself", "I bet its juicy" etc). and then there is Carol Channing as jazz-baby Muzzy etc. The guys are fun too - John Gavin as Trevor Graydon guying himself and cute young James Fox's Jimmy (now a senior actor here, good to see him last year at the 50th anniversary screening of THE SERVANT - as per my posts on that - Fox label) as he launches the friendship dance into doing "The Tapioca" or in drag to trap white slaver Mrs Meers who thinks he will be alright for "a dark corner of the late shift" ..... George Roy Hill directs it all with a sure touch, its produced by Ross Hunter, and lensed by the great Russell Metty (THE MISFITS etc) and then theres Elmer Bernstein and Andre Previn sorting out the score and the songs ... whats not to love?

All I need to say about PULP FICTION is: was it really 20 years ago it blew us away - still does now, as does INGLORIOUS BASTERDS and KILL BILL .... they repay frequent (or at least annual) re-visits. 

THE AVIATOR, 2004. I liked Scorsese’s Howard Hughes film a lot more now than I did back in 2004. One is bowled over by so many things, not least Cate Blanchett’s vivid cartoon portrayal of Katharine Hepburn – its audacious, but it works (Kate Beckinsale as Ava Gardner certainly doesn’t). Add in Jude Law for a minute or two as Errol Flynn and the film soars, just like Hughes does in his plane as takes Hepburn airborne in his plane and lets her fly it. Scorsese only shows us Hughes from the 1920s to the 1940s, with all that HELLS ANGELS movie-making, with Jean Harlow (Gwen Stefani). Leonardo Di Caprio captures the spendthrift madness of Hughes in his early prime, as he spends, spends and spends more to get his vision on screen. 

Nobody it seems can say no to him, as we watch his staff and companions like Noah Dietrich (John C. Reilly), and later his deadly foes like Alec Baldwin as Juan Trippe, CEO of Pan-American Airways, and Alan Alda as that very devious, corrupt politician. 
The basic facts about Hughes are present and correct, his unstoppable will and inner demons, including that Spruce Goose saga, and having starlets squirreled away all over town, as we see his growing obsession and OCD about health and germs and how he cannot open that washroom door … It is all vivid film-making, as the running time flies by, with Scorsese in his element, and all those fantastic planes and amazing set-pieces, and it has set me up to finally put on THE WOLF OF WALL STREET. It makes one wonder what Scorsese’s proposed Sinatra biopic would be like. 

A cache of new old movie magazines !

I came across a fantastic website selling all kinds of vintage magazines, including lots of film mags, like "Films & Filming", "Sight & Sound", "Films Illustrated", "Film Comment" etc. As a magazine junkie from way back, this was too good to miss. My first consignment of 10 "Films & Filming" from the late '50s arrived a few days ago, in great condition, so its money well spent. I have the magazine's issues from 1960 onwards, but those '50s ones are marvellous too (it began in 1954, but of course all magazines have their day, and it  was finished by 1980 - I worked there for a year in the '70s and knew the owner and staff, and did some reviews for them myself, as per my other posts at F&F label).

I am getting another lot this week, a few more "F&F"s, two "Plays & Players" one with Bacall in APPLAUSE and the other with Jonathan Pryce as HAMLET in 1980, both of which I saw, on the covers), and 5 early "Sight & Sounds" also from the early 60s, with Belmondo, Christie, Lee Remick etc on the covers, .... so, lots of nostalgic catching up.

There is another Italian issue here too, with features by Fellini on his forthcoming LA DOLCE VITA, and by Antonioni also ...

Another fascinating feature is a three-page piece on Ingrid Bergman (back in big movies again in 1958) by no less than Kenneth Tynan.

It also ran a monthly feature 'Person of Promise' and these particular magazines feature Lee Remick, James Garner, Gena Rowlands and Renato Salvatori among other up and coming players. Other Persons of Promise I remember were Tony Perkins and Jane Fonda. Some of the Persons (Dolores Michaels, Patricia Owens) though did not last very long ...
This is their rather nice feature on Lee Remick, in August 1958:

.

"Lee Remick looks like a nice girl, yet she has the most sex-appeal I've ever seen turned loose on the screen" says THE LONG HOT SUMMER's producer, Jerry Wald. Director of SUMMER, Martin Ritt, adds: "She is the most exciting new personality I've seen; she jumps at you from the screen". And to round off the quotes on the bright Miss Remick, Orson Welles quite simply says: "... she's the greatest".

Lee Remick made her film debut eighteen months ago as the drum-majorette bride of Lonesome Rhodes in Kazan's A FACE IN THE CROWD. Her second film THE LONG HOT SUMMER is at present making the rounds in Britain. Her work in Kazan's CROWD won her critical recognition, although she was seen for only ten minutes on screen. In SUMMER, after studio executives had seen the rushes, she was given star billing. Lee Remick is a name to conjure with.

Born in Boston, she and her brother, Bruce, were the two children of a successful department store owner, Frank Remick. When his only daughter decided on a stage career, papa did not object - in fact he went as far as financing her dramatic and dancing lessons. After schooling at Thayerland College, she went to Miss Hewitt's fashionable institute of learning. The plays that Miss Hewitt chose for her students to exercise their dramatic abilities on were also fashionable, but little else. Lee longed to have a stab at the real thing.

She graduated to Barnard College, and theatricals took on a more professional tone. After months of training she went into the American equivalent of repertory: summer stock. On tour, she appeared with Rudy Vallee in JENNY KISSES ME, with Art Carney in THE SEVEN YEAR ITCH, and singing and dancing in PAINT YOUR WAGON. 

On her sixteenth birthday, in December 1953, Lee arrived on Broadway as Lois, in BE YOUR AGE. To put it mildly, the play was a colossal flop. Then she went into TOP MAN, which also folded in double quick time. Forsaking the stage for television, she appeared in many of the top dramatic shows. 

20th Century Fox have ambitious plans for the new girl on the lot. Her name has been mentioned for the lead role in THE JEAN HARLOW STORY, which Fox plans to make later this year. And she is set for THESE THOUSAND HILLS, and for astute producer Wald in THE BEST OF EVERYTHING. 

Well, thank goodness Lee did not get tarnished with those Harlow films, and of course those big roles kept coming with ANATOMY OF A MURDER, WILD RIVER, DAYS OF WINE AND ROSES etc. - as per other posts here, at Remick labels. After her parents divorced, she became a Park Avenue girl, as her mother moved to New York. Another Remick interview I quoted from had her telling of her first meeting with Hepburn and Tracy, when she was up for a small part in DESK SET; 6 years later she and Hepburn were both competing for the Best Actress Oscar in 1962 (the year Anne Bancroft won), while a decade later they played mother and daughter in the 1973 A DELICATE BALANCE, also reviewed here.

And the magazine website: 

http://www.tilleysvintagemagazines.com/source/gallery.php?
gallery=FILMS%20AND%20FILMING&menuchoice=magazines&menuletter=F.