The Third Man 2004
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A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MARCH 2021 Ho u The 39 Steps (1935) 3/5 c Blondie of the Follies (1932) 3/2 Czechoslovakia on Parade (1938) 3/27 a ADVENTURE u 6,000 Enemies (1939) 3/5 u Blood Simple (1984) 3/19 z Bonnie and Clyde (1967) 3/30, 3/31 –––––––––––––––––––––– D ––––––––––––––––––––––– –––––––––––––––––––––– ––––––––––––––––––––––– c COMEDY A D Born to Love (1931) 3/16 m Dancing Lady (1933) 3/23 a Adventure (1945) 3/4 D Bottles (1936) 3/13 D Dancing Sweeties (1930) 3/24 z CRIME a The Adventures of Huckleberry Finn (1960) 3/23 P c The Bowery Boys Meet the Monsters (1954) 3/26 m The Daughter of Rosie O’Grady (1950) 3/17 a The Adventures of Robin Hood (1938) 3/9 c Boy Meets Girl (1938) 3/4 w The Dawn Patrol (1938) 3/1 o DOCUMENTARY R The Age of Consent (1932) 3/10 h Brainstorm (1983) 3/30 P D Death’s Fireworks (1935) 3/20 D All Fall Down (1962) 3/30 c Breakfast at Tiffany’s (1961) 3/18 m The Desert Song (1943) 3/3 D DRAMA D Anatomy of a Murder (1959) 3/20 e The Bridge on the River Kwai (1957) 3/27 R Devotion (1946) 3/9 m Anchors Aweigh (1945) 3/9 P R Brief Encounter (1945) 3/25 D Diary of a Country Priest (1951) 3/14 e EPIC D Andy Hardy Comes Home (1958) 3/3 P Hc Bring on the Girls (1937) 3/6 e Doctor Zhivago (1965) 3/18 c Andy Hardy Gets Spring Fever (1939) 3/20 m Broadway to Hollywood (1933) 3/24 D Doom’s Brink (1935) 3/6 HORROR/SCIENCE-FICTION R The Angel Wore Red (1960) 3/21 z Brute Force (1947) 3/5 D Downstairs (1932) 3/6 D Anna Christie (1930) 3/29 z Bugsy Malone (1976) 3/23 P u The Dragon Murder Case (1934) 3/13 m MUSICAL c April In Paris -
Midas' Servant, Ceyx, Morpheus As Ceyx, Orpheus, Apollo, A, Philemon
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 Playing the Third Man (Midas' Servant, Ceyx, Morpheus as Ceyx, Orpheus, Apollo, A, Philemon) in Mary Zimmerman's Metamorphoses: a production thesis Ronald Ludlow Reeder Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Reeder, Ronald Ludlow, "Playing the Third Man (Midas' Servant, Ceyx, Morpheus as Ceyx, Orpheus, Apollo, A, Philemon) in Mary Zimmerman's Metamorphoses: a production thesis" (2007). LSU Master's Theses. 3653. https://digitalcommons.lsu.edu/gradschool_theses/3653 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PLAYING THE THIRD MAN (MIDAS’ SERVANT, CEYX, MORPHEUS AS CEYX, ORPHEUS, APOLLO, A, PHILEMON) IN MARY ZIMMERMAN’S METAMORPHOSES: A PRODUCTION THESIS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural And Mechanical College In partial fulfillment of the Requirements for the degree of Master of Fine Arts In The Department of Theatre By Ronald Ludlow Reeder B.F.A., University of Texas at Austin, 1991 B.S., University of Texas at Austin, 1994 May, 2007 TABLE OF CONTENTS ABSTRACT……………………………………………………………...………………iii -
The Third Man"
"THE THIRD MAN" by Graham Greene HIGH ANGLE - FULL SHOT - CITY OF VIENNA The title VIENNA SUPERIMPOSED FADES OUT - commentary commences. COMMENTATOR I never knew the old Vienna before the war, with its - MED. SHOT - STATUE OF A VIOLINIST There is snow on it. COMMENTATOR Strauss music, its glamour and easy charm... MED. SHOT - ROW OF STONE STATUES ornamenting the top of a building. In the b.g. the top of a stone archway. They are snow-sprinkled. COMMENTATOR Constantinople suited... MED. SHOT - SNOW-COVERED STATUE Trees in b.g. COMMENTATOR me better. I really got to know it in the... CLOSE SHOT - TWO MEN talking in the street. COMMENTATOR - classic period of the black... CLOSEUP - SUITCASE opens toward camera, revealing contents consisting of tins of food, shoes, etc. The hands of a man come in from f.g. to take something out. COMMENTATOR - market. We'd run anything... CLOSEUP - HANDS OF TWO PEOPLE standing side by side in the street. The person CL running hands through a pair of silk stockings. COMMENTATOR - if people wanted it enough. CLOSEUP - HANDS OF TWO PEOPLE A woman's hands CL wearing a wedding ring - a man's hands CR holding in RH two small cartons - hands them over to her in exchange for some notes which she hands him. COMMENTATOR - and had the money to pay. CLOSE SHOT - FIVE WRIST WATCHES on a man's wrist from which the coat sleeve is turned back. COMMENTATOR Of course a situation like that - LONG SHOT - CAPSIZED SHIP in shallow water with a drowned body floating on the water CR of it. -
MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda
PRESS PACK CANNES CLASSICS OFFICIAL SELECTION 2015 MARIUS by Marcel Pagnol (1931) Directed by Alexander Korda Thursday 21 May 2015 at 5pm, Buñuel Theatre Raimu and Pierre Fresnay in Marius by Marcel Pagnol (1931). Directed by Alexander Korda. Film restored in 2015 by the Compagnie Méditerranéenne de Films - MPC and La Cinémathèque Française , with the support of the CNC , the Franco-American Cultural Fund (DGA-MPA-SACEM- WGAW), the backing of ARTE France Unité Cinéma and the Archives Audiovisuelles de Monaco, and the participation of SOGEDA Monaco. The restoration was supervised by Nicolas Pagnol , and Hervé Pichard (La Cinémathèque Française). The work was carried out by DIGIMAGE. Colour grading by Guillaume Schiffman , director of photography. Fanny by Marcel Pagnol (Directed by Marc Allégret, 1932) and César by Marcel Pagnol (1936), which complete Marcel Pagnol's Marseilles trilogy, were also restored in 2015. "All Marseilles, the Marseilles of everyday life, the Marseilles of sunshine and good humour, is here... The whole of the city expresses itself, and a whole race speaks and lives. " René Bizet, Pour vous , 15 October 1931 SOGEDA Monaco LA CINÉMATHÈQUE FRANÇAISE CONTACTS Jean-Christophe Mikhaïloff Elodie Dufour Director of Communications, Press Officer External Relations and Development +33 (0)1 71 19 33 65 +33 (0)1 71 1933 14 - +33 (0)6 23 91 46 27 +33 (0)6 86 83 65 00 [email protected] [email protected] Before restoration After restoration Marius by Marcel Pagnol (1931). Directed by Alexander Korda. 2 The restoration of the Marseilles trilogy begins with Marius "Towards 1925, when I felt as if I was exiled in Paris, I realised that I loved Marseilles and I wanted to express this love by writing a Marseilles play. -
THE THIRD MAN Involved in an Opium-Smuggling Operation
CD 7A: “Every Frame Has a Silver Lining” - 10/26/1951 Passing through Iran, Harry becomes THE THIRD MAN involved in an opium-smuggling operation. Lives of Harry Lime CD 7B: “Mexican Hat Trick” - 11/02/1951 Program Guide by Elizabeth McLeod Down on his luck in Mexico, opportunity Orson Welles in The Third Man beckons Harry…thanks to a pickpocket! It’s a hard job being a middle-aged wunderkind, especially in show business -- where you’re only as good as your last big success. And CD 8A: “Art Is Long and Lime Is Fleeting” - 11/09/1951 as Orson Welles moved into his mid-thirties, the triumphs of his youth The painting Harry’s trying to sell isn’t really a Renoir, but does that seemed increasingly remote. The Mercury Theatre was just a memory, really matter? and so was the bold 1930s experimental theatre scene that gave it life. Postwar America, with its increasing restrictions on intellectual freedom CD 8B: “In Pursuit of a Ghost” - 11/16/1951 and its suspicion of anyone who dared to color outside the lines, had Harry is caught up in a rush of events and finds himself in the middle of little use for a superannuated boy wonder…especially one who’d made a banana-republic revolution! a career of antagonizing the Establishment. Orson Welles may have been a genius, but it didn’t take a genius to know that there wasn’t much call anymore for the kind of work that he did so well. He’d burned his Elizabeth McLeod is a journalist, author, and broadcast bridges in Hollywood -- and the radio networks, seeing the approaching historian. -
HP0221 Teddy Darvas
BECTU History Project - Interview No. 221 [Copyright BECTU] Transcription Date: Interview Dates: 8 November 1991 Interviewer: John Legard Interviewee: Teddy Darvas, Editor Tape 1 Side A (Side 1) John Legard: Teddy, let us start with your early days. Can you tell us where you were born and who your parents were and perhaps a little about that part of your life? The beginning. Teddy Darvas: My father was a very poor Jewish boy who was the oldest of, I have forgotten how many brothers and sisters. His father, my grandfather, was a shoemaker or a cobbler who, I think, preferred being in the cafe having a drink and seeing friends. So he never had much money and my father was the one brilliant person who went to school and eventually to university. He won all the prizes at Gymnasium, which is the secondary school, like a grammar school. John Legard: Now, tell me, what part or the world are we talking about? Teddy Darvas: This is Budapest. He was born in Budapest and whenever he won any prizes which were gold sovereigns, all that money went on clothes and things for brothers and sisters. And it was in this Gymnasium that he met Alexander Korda who was in a parallel form. My father was standing for Student's Union and he found somebody was working against him and that turned out to be Alexander Korda, of course the family name was Kelner. They became the very, very greatest of friends. Alex was always known as Laci which is Ladislav really - I don't know why. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Washhtf 5 30, 5' Missouri Ave.) Riggs MONOAR AM RICTURI at Fl:50, 12
KM* NTS columnist. That's just, as well for where he was born, he always an- AMUSFMENTS AMT'S Pete because Keenan shows me his swers, "The United States.” Actually muscles, and boy, oh boy! they’re Eddie was bom in Rumania. “But,” Hollywood: terrific. “I do weight lifting," says he explains on the set of his current Vivien Due to Return Keenan, modestly. “I have a hole picture, “All my sons.” "I don’t con- Leigh June Practices in my head and that's the only sport sider I was born until I came to I can do!” America when I was 10 years old In Romance in 1948 4 Hours Daily * * * * That's a nice way of saying “thank Major Her Paul Henreid goes to Eagle-Lion you” to this country. For Role for “Hollow Triumph.” The reason they changed Charles By Joy Cormody to! Sheiiah Graham Wait ’til you see Ann Miller's Boyer’s picture. “Mortal Coils,” Save for "Caesar and Cleopatra.’’ which was made when she was By hobble skirts in "Easter Parade!” “Vengeance,” is because people been Bob will do his weekly radio V A quite ill and far from looking her fiery best, Vivien Leigh has Hope I hope it won't start the fashion thought the coils had something a stirred broadcast on the S. S. America at 3 v Wierely a beautiful memory to American movie audiences, memory again, because you can't walk in ’em to do with electricity! sea, while coming back from Eng- (Released by North American Newspaper by the recent re-issue of “Gone With the Wind." —you just skip, hop and jump! man who land after the royal command Alliance.) That will be changed, and radically, early in 1948 and the per- Jack Carson has canceled his trip n-ill h p rpsnnncihU frvr t.h* rhflncrp*- foimance! to New York—he says he is too tired houses November lo. -
BFI Future Film Member Joe Steen Recommends the Third Man (1949, Dir
BFI Future Film member Joe Steen recommends The Third Man (1949, dir. Carol Reed) From the first creeping, whimsical note of Anton Karas’ infamously seductive zither soundtrack, The Third Man announces itself as a quaint and curious masterpiece of British cinema. The quintessentially English narrator provides a brief vignette of post-war Vienna, delivered in a haughty and jarringly buoyant tone that will prove all the more strange as we embark on a cryptic journey through the slippery streets of Vienna. For our hero, Holly Martins, ancient ideas about good and evil seem about as distant and uncertain as the identity of this enigmatic ‘Third Man’. Though it is commonly categorised as film noir or British noir, The Third Man is not quite composed of the same pulpy ingredients as its Hollywood influences. Our femme fatale is no malevolent spider- woman, our detective hero constantly out of his depth, and the forces of law and order no less bewildered and ineffective. Where The Third Man remains fundamentally film noir, however, is in its evocative and striking visual character: Graham Greene’s tense and enigmatic picture of post-war alienation is brought vividly to life by the skewed and suspicious eye of the camera, searching desperately down Vienna’s dark alleyways and through the rubble of its bombed-out buildings. The film’s conclusion, although unforgettable in terms of visual splendour, remains painfully uncompromising and powerful – aching with uncertainty and the betrayal of our expectations. Though the film has moments of great tension and sporadic comedy, they are sparsely measured and subordinate to the moral intrigue that skirts the plot’s shadowy surfaces, culminating in perhaps the most notorious (certainly the most incredible) examples of ad-libbing in cinema – the ‘cuckoo clock speech’. -
Convert Finding Aid To
David O. Selznick: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Selznick, David O., 1902-1965 Title: David O. Selznick Collection Dates: 1904-1980 (bulk 1936-1955) Extent: 4,674 document boxes, plus 428 oversize or custom boxes, 147 music folders, 6 galley folders, 101 sound discs, 155 bound volumes, and 35 flat file drawers (2,388 linear feet) Abstract: Contains records documenting every aspect of David O. Selznick's Hollywood studio operations including script development, production, publicity, finances, and distribution. The records follow film's pioneer days in New York through the heyday of the studio system in Hollywood, to the rise of television. Besides Selznick's independent productions such as A Star is Born (1937), Gone With the Wind (1939), and Rebecca (1940), the archive documents his association with three major studios, Metro-Goldwyn-Mayer, Paramount, and RKO. Call Number: Film Collection FI-034 Language: English Access: Open for research. A limited amount of sensitive material has been restricted by the family. Administrative Information Acquisition: Purchase and gift, 1981-1995 Processed by: Gwyneth Cannan and Kinga Perzynska, with assistance from Jan Root, Hope Kelley, Abby Weinhauer, David Sparks, and Bob Taylor, 1988-1992 Repository: The University of Texas at Austin, Harry Ransom Center Selznick, David O., 1902-1965 Film Collection FI-034 Biographical Sketch David O. Selznick (1902-1965) began his film career working for his father's production companies. In 1926 he joined MGM as a reader and quickly rose to assistant producer. Two years later, Selznick left MGM to become executive assistant at Paramount. -
Robert Donat, Film Acting and the 39 Steps (1935) Victoria Lowe, University of Manchester, UK
'Performing Hitchcock': Robert Donat, Film Acting and The 39 Steps (1935) Victoria Lowe, University of Manchester, UK This article offers a speculative exploration of performance in a Hitchcock film by looking in detail at Robert Donat's characterisation of Richard Hannay in The 39 Steps (1935). It has been argued that Hitchcock's preference for the actor who can do nothing well leads to a de- emphasising of the acting skill of his cast whilst foregrounding the technical elements such as editing and mise-en-scène in the construction of emotional effects (Ryall, 1996:159). Hitchcock's own attitude to actors is thought to be indicated by his oft-quoted claim that "actors should be treated like cattle." [1] However, this image of Hitchcock as a director unconcerned with the work of his actors seems to be contradicted both by the range of thoughtful and complex performances to be found in his films and by the testimonies of the actors themselves with regard to working with him. [2] In this article therefore, I will attempt to unpick some of the issues regarding performance in Hitchcock films through a detailed case study of Robert Donat and his performance in The 39 Steps. Initially, I will look at the development of Donat's star persona in the early 1930s and how during the making of The 39 Steps, writing about Donat in the press began to articulate performance as opposed to star discourses. I will then look at some of Donat's published and unpublished writing to determine the screen acting methodologies he was beginning to develop at the time. -
HERMES Literature, Science, Philosophy
HERMES Literature, Science, Philosophy HERMES LITERA TURE, SCIENCE, PHILOSOPHY by MICHEL SERRES Edited by Josue V. Harari & David F. Bell THE JOHNS HOPKINS UNIVERSITY PRESS , BALTIMORE & LONDON This book has been brought to publication with the generous as sistance of the Andrew W. Mellon Foundation. Copyright © 1982 by The Johns Hopkins University Press All rights reserved Printed in the United States of America The Johns Hopkins University Press, Baltimore, Maryland 21218 The Johns Hopkins Press Ltd., London Permissions are listed on page 157, which constitutes a continuation of the co pyright page. Library of Congress Cataloging in Publication Data Serres, Michel. Hermes: literature, science, philosophy. Includes index. Contents: The apparition of Hermes, Don Juan Knowledge in the classical age-Michelet, the soup -Language and space, from Oedipus to Zola-[etc.] 1. Harari, Josue V. II. Bell, David F. III. Title. PQ2679.E679A2 1981 844' .914 81-47601 ISBN 0-8018-2454-0 AACR2 ..... .......... Contents Editors' Note VIl INTRODUCTION: Journala plusieurs voies by Josue V. Harari and David F. Bell lX I. LITERATURE & SCIENCE 1. The Apparition of Hermes: Dam Juan 3 2. Knowledge in the Classical Age: La Fontaine and Descartes 15 3. Michelet: The Soup 29 4. Language and Space: From Oedipus to Zola 39 5. Turner Translates Carnot 54 II. PHILOSOPHY & SCIENCE 6. Platonic Dialogue 65 7. The Origin of Language: Biology, Information Theory, and Thermodynamics 71 8. Mathematics and Philosophy: What Thales Saw. 84 9. Lucretius: Science and Religion 98 10. The Origin of Geometry 125 POSTFACE: Dynamics from Leibniz to Lucretius by lIya Prigogine and Isabelle Stengers 135 Name Index 159 Subject Index 163 v ....