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Loss of a Teardrop Diamond and Handsome Harry among Urman's Paladin

Posted by Eric Lavallee on Sep 10, 2009
Source: Variety

When I started receiving early press screening invites for the theatrical release of Disgrace via a new label called "Paladin", I had no clue until today that this was former ThinkFilm topper Mark Urman's new venture. The newly formed distribution company who'll, from the look of it, will stick to smaller film fair has already mounted a slate that pushes the company into next year. As mentioned before, the J.M. Coetzee novel adaptation (Disgrace) is the first film to launch the label, this will be followed by Brant Sersen's comedy called Splinterheads in November, The Loss of a Teardrop Diamond in New York and Los Angeles in late December and they'll begin the new year with Bette Gordon's Handsome Harry early next year. Our advice to Urman: start off slow, bid low and think quality not quantity.

The Loss of a Teardrop Diamond is based on the undiscovered screenplay by Pulitzer Prize-winning writer Tennessee Williams, and sees a young and rebellious socialite Fisher Willow, tainted by a family scandal, boldly hires farm hand Jimmy Dobyne to be her escort for the elaborate party season. As her passion for Jimmy grows, Fisher defies social convention and the burden of history to risk everything for a chance at real love... until the loss of a priceless diamond sets off a series of accusations and betrayals that threaten to shatter their hopes for the future. With his indelible characters and breathtaking Southern backdrops, Williams paints a heartbreaking tale of seduction and loss.



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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Review: Wrong

"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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