Molly Haskell

Dec 2, 2024 | jewishbookcouncil.org | Molly Haskell

Skip to main content Jewish Book Council, founded in 1943, is the longest-running organization devoted exclusively to the support and celebration of Jewish literature. Get the latest reviews, news, and more in your inbox. Review By – December 2, 2024 The 1927 film The Jazz Singer stands as a unique cultural artifact of its time.

Oct 22, 2024 | dmnews.com | Molly Haskell

Trying to boost demand is no longer just about grabbing leads—it’s about building sustainable growth that sets your business up for long-term success. Demand gen strategies are key to increasing visibility, establishing authority, and capturing more market share. Here are seven critical digital marketing tricks to supercharge your efforts in Q4. 1. Educate and engage: Content is still kingCreating valuable content is your secret weapon to winning over your audience.

Oct 21, 2024 | filmcomment.com | Molly Haskell

This article appeared in the October 18, 2024 edition of The Film Comment Letter, our free weekly newsletter featuring original film criticism and writing. Sign up for the Letter here. The Room Next Door (Pedro Almodóvar, 2024)In the early 1920s, masses of people sought comfort in spiritualism, consulting mediums to communicate with the dearly departed.

Aug 21, 2024 | bfi.org.uk | Ginette Vincendeau |Molly Haskell

The 68th BFI London Film Festival in partnership with American Express is delighted to announce that this year’s American Express Gala will be the European premiere of Elton John: Never Too Late on Thursday 10 October at the Southbank Centre’s Royal Festival Hall, with Elton John and directors R.J. Cutler and David Furnish in attendance.

Aug 20, 2024 | criterion.com | Molly Haskell

Women are subjected to unwanted attention from the moment they leave childhood behind. This widely accepted fact has long been casually deployed as comic fodder in films such as The Palm Beach Story, Preston Sturges’s exquisitely satirical, ever-timely portrait of the war between the sexes. The film’s heroine (Claudette Colbert) makes the argument that she might as well turn her sexual assets into profits, as she has been stuck playing an object of desire all her life.