Contributions from Adam Scovell | Little White Lies

Contributor Adam Scovell

Close-up black-and-white portrait of a man with a thoughtful, melancholic expression
In Praise Of

Why I Love Max von Sydow’s Performance in Shame

by Adam Scovell

The Swedish-born actor is at his trans­fix­ing best in Ing­mar Bergman’s 1968 drama.
Three figures running down a narrow alley, dressed in clothing typical of the 1930s or 1940s.
On Location

On Location: The bridge from Jules et Jim

by Adam Scovell

This grey struc­ture in the cen­tre of Paris pro­vid­ed the Nou­velle Vague with one of its most icon­ic images.
Two people in a formal setting, one wearing a suit and the other a high-necked dress, both looking at each other intently.
Home Ents

The troubled genius of Orson Welles’ The Magnificent Ambersons

by Adam Scovell

The director’s final pic­ture for RKO suf­fered from severe cuts, but still retains his gold­en touch.
Imposing castle with towers, turrets and arched bridge reflected in still water, set against cloudy sky.
On Location

On Location: The Norman castle from Kind Hearts and Coronets

by Adam Scovell

This his­toric fortress is the scene of some unsavoury goings on in Robert Hamer’s clas­sic Eal­ing comedy.
Two people, a woman in sunglasses and a man in a suit, sitting at a counter in a dimly lit, old-fashioned bar or diner setting.
In Praise Of

Why I love Barbara Stanwyck’s performance in Double Indemnity

by Adam Scovell

The sil­ver screen icon sub­vert­ed her hero­ine image to deliv­er one of Hollywood’s most mem­o­rable villains.
Lush greenery covers buildings in a European city street with parked cars and pedestrians.
On Location

On Location: The house from Michael Haneke’s Hidden

by Adam Scovell

The Aus­tri­an director’s 2005 thriller is built around the mys­tery of place, as a vis­it to this Parisian set­ting revealed.
Elegant manor house surrounded by trees, reflected in a pond in the foreground with red flowers.
On Location

On Location: The house from Don’t Look Now

by Adam Scovell

The pri­vate res­i­dence fea­tured in Nico­las Roeg’s icon­ic ​’70s hor­ror remains an idyl­lic, evoca­tive setting.
Two people, one a young man in the foreground and the other an older man in the background, both in black and white. The foreground figure is wearing a striped shirt and appears to be facing the camera.
In Praise Of

Why I love Jean Seberg’s performance in Breathless

by Adam Scovell

The Amer­i­can star led some­thing of a trag­ic life, but she will for­ev­er be remem­bered for her role in Jean-Luc Godard’s debut feature.
Young child in black suit standing near a large cross
On Location

On Location: The neo-Gothic cathedral from 1976’s The Omen

by Adam Scovell

Vis­it­ing Guil­ford Cathe­dral, the grand, eerie cen­tre­piece of Richard Donner’s hor­ror classic.
Statue of a firefighter in winter gear, standing amidst snowy branches, holding a briefcase.
In Praise Of

How Twelve Monkeys built on the legacy of La Jetée and Vertigo

by Adam Scovell

Themes of mem­o­ry and death lie at the heart of Ter­ry Gilliam’s dystopi­an time trav­el saga.