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Bonnie Greer

How to know when it's time to go

It is a great virtue, and a great gift as well, to know when to stop. Especially when you’re at the top

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The conundrum of shooting assassination movies

The cinema looks at the clash of realities that is the US – and makes movies out of it

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How The Citadel changed history

King Vidor’s film helped put Labour into government

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Why Wilson was one of the most boring films in cinema history

It was so dull that Churchill made his excuses and went to bed in the middle of it – even though it was screened especially for him

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Why it was RIP for RP

Received Pronunciation was the epicentre of how you had to talk in British plays. Then a play called Look Back in Anger by John Osborne arrived

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Monsters are one of the conundrums of great art

A person considered to be a kind of sexual demon vis-a-vis his actors male and female can also make beautiful, great films

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Audrey Hepburn, the famine survivor who lit up the screen

Hepburn had come to know early on that delicate thread between life and death. And that she had survived

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Jack Cardiff, a poet of the cinema

The cinematographer not only understood what a camera is meant to do, he visually understood what cinema should do

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Cinematic paradoxes

Many actors, in real life, are the opposite of who they portray or seem to be

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Vote Gaza, get Trump

Of course American students have the right to protest over Gaza. But what happens as a result may put Donald Trump back in the White House

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French cinema in wartime

In her elusive beauty and skill, Arletty was the rival to Garbo

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The films which caught the times of 1968

In 1968, three films caught the times in different ways. And they all starred women

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High Noon was a portal for the new cinema to come

Fred Zinnemann’s classic Western is full of tired, scared, cynical people. In that, it is like a Godard or a Cassavetes

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Jean Harlow always said what needed to be said

There was always something vulnerable about her, something half-said, the rest buried somewhere deep and inaccessible

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Bonnie Greer’s Vintage: How Roberto Rossellini gave us the real Rome

Quo Vadis is fun but Rossellini's neorealism showed us Rome as it was

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Bonnie Greer’s Vintage: Orson Welles would have loved the trial of Trump

Both Welles and Frank Capra were masters of portraying the crooked side of the American Dream

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Bonnie Greer’s Vintage: Joseph L Mankiewicz

Joe gave women agency, even if they were wearing an apron; even if they were frightened about losing a man

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Bonnie Greer’s Vintage: Gregg Toland

One shot tells you everything about this immortal cinematographer

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Bonnie Greer’s Vintage: Stereotypes

Vintage cinema abounds with stereotypes, and it is the hardest element of the genre to watch

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Badenoch’s trivialising of racism may make her Tory leader. But at what cost?

The Tories’ response to Frank Hester’s racist comments must signal a turning point for the country

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Bonnie Greer’s Vintage: Frank Capra

A Frank Capra picture always embodied what Abraham Lincoln appealed to in US citizens: “The better angels of our nature”

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Bonnie Greer’s Vintage: Fred Astaire

In the Top Hat dance sequence we see a master dancer at the top of his game

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Bonnie Greer’s Vintage: Garbo and Poitier

The Face is the real storyteller in vintage, and the close-up its greatest tool

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Bonnie Greer’s Vintage: Billy Wilder and the spirit of Weimar

Beneath Weimar, beneath that endangered republic, was always the sense that life was fleeting

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The enduring lesson of All the King’s Men

Robert Rossen’s classic is a reminder to Americans that dictators don’t work for the people – they use them as a tool

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The beauty and genius of Cary Grant

There is no question in my mind that Grant is the greatest film actor of all time

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How four Brits unleashed America’s hidden anarchy, 60 years ago

The Beatles gave young Americans gold standard permission to be different from their parents

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Silos of hierarchy are holding Britain back

The House of Lords, where real monarchy lies, must be abolished

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America’s belief in the ‘inside job’ will put Trump back inside the Oval Office

Robert Redford portrayal in Three days of the Condor is eerily similar to Trump's contemporary success

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I dislike everything Badenoch says.. but I’d still like to see her lead the Tories

Opposing right-wing politicians of colour runs the risk of entering a dangerous world of contradiction and nuance

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Just stop the right’s defunding of art, and culture will stop selling itself to oil

Britain needs a government that doesn’t shy away from culture and art

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Milei and Maduro, riders on a storm that’s coming from the south

The populist leaders of Argentina and Venezuela fly under the radar in the northern hemisphere, but the threat they pose is very real

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