Joel Barish (Jim Carrey) upon discovering that his ex-girlfriend Clementine (Kate Winslet) has had all memories of him erased from her mind decides to do the same. At this halfway point, we view him in a dream-like state reliving their memories together as they begin to be torn down around him. A film, which explores in a surreal and creative manner whether ignorance really is bliss, and one with a title which so aptly and poetically describes its theme.

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http://thisiscentralstation.com/featured/450heres-our-future-in-front-of-us-trailer/

The halfway point here definitely marks the turning point in this film. Joe Lampton (Laurence Harvey) has moved to the wealthy Yorkshire town of Warnley; he comes from a working-class background and dreams of having it all. At this point in the film, he has begun wooing Susan (Heather Sears), the daughter of a wealthy factory owner, in his quest to get a ‘room at the top’. Only he has also fallen in love with an older married woman Alice Aisgill (Simone Signoret). Alice, unlike Susan, is interesting and a woman of the world. At this turning point the two fall out over a anecdote Alice is telling about the time she once posed nude for a painter. The argument ends the relationship, and from here his sights will only be set on Susan. He is young and ambitious, but by the time he realises his own hypocrisy towards Alice he is already set to get everything bar what he really wants.

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http://thisiscentralstation.com/featured/450heres-our-future-in-front-of-us-trailer/

The half way point is usually the mark of the turning point in a film. At this point, Audrey (Adrienne Shelly), a bright teenager from a small town has left her high school boyfriend (pictured) who is completely incompatible, and has set her sights on ex-con Josh (Robert Burke) who has recently come back to town. Josh seems much more compatible, quite warm, and eloquent, yet potentially also a mass-murderer.

This is a very clever black comedy, with a distinct and audacious style.

For a sense of the style and humour have a look at this clip.

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‘In the 50th Minute’ now shows the turning point of great films. Central Station is trying to promote artists who need a bit of recognition at a turning point in their careers. Have a look at 50×50 http://thisiscentralstation.co.uk/featured-opportunity/50×50/ and follow them online for more opportunities.

Joan Fontaine plays a young ladies companion, who is working for the very domineering Mrs Danvers. Whilst holidaying with Mrs Danvers she meets Maxim de Winter (Laurence Olivier) a recent widower. After some secret liasons the two fall in love and quickly marry. Immediately they return to his very large estate, and she must assert herself as lady of the house. Being young and inexperienced of this sort of lifestyle she already feels out of her depth, but this is further accentuated by the unearthly hold Rebecca, the previous Mrs de Winter still seems to have over the house and all of its occupants.

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And if you are also a filmmaker/artist/designer take a look at Central Station 50×50 http://thisiscentralstation.co.uk/featured-opportunity/50×50/

The film begins with an introduction to the ‘Don’, Vito Corleone (Marlon Brando), on the day of his daughter’s wedding. He is the head of a New York mafia family, within which his sons are all embroiled in the “family business” except Michael (Al Pacino), who has different principles from the rest and wishes to have nothing to do with it. His father respects his son Michael and his disposition, but events unfold that lead to a change in Michael’s demeanour, and a power shift that will change him forever.

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Leave comments or tweet suggestions for other great films with strong characters or high concepts that should be featured to @JessMcFilm and include the handle #HOFIFOU50x50

And if you are also a filmmaker/artist/designer take a look at Central Station 50×50 http://thisiscentralstation.co.uk/featured-opportunity/50×50/

Based on the true story of the former editor and chief of French fashion magazine Elle, Jean-Dominique Bauby, who suffered a massive stroke on the 8th December 1995. When he awoke in hospital his mind was left unaltered but he was physically paralysed, leaving him a prisoner in his own body. The only movement he could make was in blinking his left eye. The nurses used this to communicate with him, and in doing so he managed to fulfil his dream of writing a book, blinking in a code to the nurses every letter of every word. Bauby described his body as a diving bell, and his memory and imagination the butterfly incarcerated inside, but entirely intact.

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Today, Central Station made me their 8th Featured Artist – promoting the trailer for Here’s Our Future In Front Of Us http://vimeo.com/32877527 on their site http://thisiscentralstation.co.uk/featured/450heres-our-future-in-front-of-us-trailer/

This means that I will stay true to my word and for one week – starting on Christmas day the film will be available to watch in full for free on vimeo… And ‘In the 50th minute’ will be continuing so please do:

Leave comments or tweet suggestions for other great films with strong characters or high concepts that should be featured to @JessMcFilm and include the handle #HOFIFOU50x50

And if you are also a filmmaker/artist/designer take a look at Central Station 50×50 http://thisiscentralstation.co.uk/featured-opportunity/50×50/

Something a bit different for Sunday. Is this:

From the 50th minute of legendary Jaws (1975) based on the novel by Peter Benchley, screenplay by Peter Benchley and Carl Gottlieb, directed by Steven Spielberg, and starring Roy Scheider, Robert Shaw, and Richard Dreyfuss.

or

Is it from the lesser known Disney film Shark Song starring Roy Scheider, Robert Shaw, and Richard Dreyfuss?

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Bachelor C. C. Baxter (Jack Lemmon) tries to quickly rise within the large company he works for by allowing the executives to use his apartment for extra-marital rendez-vous. However, complications start to arise particularly when he begins pursuing a romance of his own.

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James Stewart is one of my favourite actors of all time; this has a lot to do with the juxtaposition of the sort of characters you might expect him to play and the characters that he does play. James Stewart, the man, was a war veteran decorated with many medals; onscreen he usually played the everyman, and in his collaborations with Hitchcock he was often the emasculated man. In Rear Window, Stewart plays photojournalist J.B Jeffries, who is cooped up in his flat, sat in a wheelchair through the summer days with his leg in a cast, his main entertainment: keeping a voyeuristic gaze over the lives of his neighbours. This becomes an obsessive past-time when he begins to suspect a salesman living opposite of having murdered his wife. At this point Jeffries’ girlfriend, played by Grace Kelly, begins to investigate the crime for him, while he remains immobilised watching through a telephoto lens as the action takes a sinister turn.

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Are you also a filmmaker/artist/designer take a look at Central Station 50×50 http://thisiscentralstation.co.uk/featured-opportunity/50×50/

Squandron Leader Peter Carter (David Niven) is on a Lancaster Bomber, the crew are dead and the plane is going down. Peter desperately scans the radio waves for signs of life. June (Kim Hunter), a young radio operator picks up his signal, she pleads with him to get help, but he protests that it is useless, instead he just wants to talk to her in his final moments. In those few minutes a bond is formed between the two, but the signal is gone, and the plane falls from the sky.

Miraculously, the following day Peter is washed up on shore, and with more luck still he finds June. It seems that Peter has managed to cheat his pre-destined death? Or is he just suffering from his injuries and shock? With surgeons routing for him on Earth, and a trial being brought to the celestial court in the heavens above, will Peter be able to fight for his life?

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