October 31, 2006 XIII:9 the Day of the Jackal (1973) 145 Min Directed By

Total Page:16

File Type:pdf, Size:1020Kb

October 31, 2006 XIII:9 the Day of the Jackal (1973) 145 Min Directed By October 31, 2006 XIII:9 The Day of the Jackal (1973) 145 min Directed by Fred Zinnemann Based on the novel by Frederick Forsyth Screenplay by Kenneth Ross Produced by John Woolf Original Music by Georges Delerue Cinematography by Jean Tournier Film Editing by Ralph Kemplen Edward Fox...The Jackal Raymond Gérôme...Flavigny Terence Alexander...Lloyd Barrie Ingham...St. Clair Michel Auclair...Col. Rolland Derek Jacobi...Caron Alan Badel...The Minister Michael Lonsdale...Lebel Tony Britton...Insp. Thomas Jean Martin...Wolenski Denis Carey...Casson Ronald Pickup...The Forger Adrien Cayla-Legrand...President Gen.Charles De Eric Porter...Col. Rodin Gaulle Anton Rodgers...Bernard Cyril Cusack...The Gunsmith Delphine Seyrig...Colette de Montpelier Maurice Denham...Gen. Colbert Donald Sinden...Mallinson Vernon Dobtcheff...The Interrogator Jean Sorel...Bastien-Thiry Jacques François...Pascal David Swift...Montclair Olga Georges-Picot...Denise Timothy West...Berthier FRED ZINNEMANN (29 April 1907, Vienna, Austria—14 March 1997, London, England, heart attack) was nominated for 9 best director Oscars (Julia 1977, A Man for All Seasons 1966 WON, The Sundowners 1960, The Nun’s Story 1959, From Here to Eternity 1953 WON, High Noon 1952, and The Search 1948), 1 best documentary Oscar (Benjy 1951, WON), and 1 best picture Oscar (The Sundowners 1960). Some of his other films were Five Days One Summer (1982), Behold a Pale Horse (1964), A Hatful of Rain (1957), Oklahoma! (1955), The Member of the Wedding (1952), The Men (1950), The Seventh Cross (1944), While America Sleeps (1939), and Menschen am Sonntag (1930). EDWARD FOX (13 April 1937, London, England) has acted in 83 films and television programs. Some of them are Lassie (2005), "Poirot", Nicholas Nickleby (2002), The Importance of Being Earnest (2002), Lost in Space (1998), Prince Valiant (1997), “Robin Hood” (1991), Shaka Zulu (1987), Wild Geese II (1985), A Passage to India (1984), The Bounty (1984), The Dresser (1983), Never Say Never Again (1983), Gandhi (1982), Force 10 from Navarone (1978), The Big Sleep (1978), Soldaat van Oranje/Soldier of Orange (1977), The Duellists (1977), A Bridge Too Far (1977), Galileo (1975), A Doll's House (1973), Skullduggery (1970), Battle of Britain (1969), "The Avengers" (1969), The Naked Runner (1967), This Sporting Life (1963) and The Mind Benders (1963). .
Recommended publications
  • Of Gods and Men
    Mongrel Media Presents OF GODS AND MEN A Film by Xavier Beauvois (120 min., France, 2010) Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may. This film is loosely based on the life of the Cistercian monks of Tibhirine in Algeria, from 1993 until their kidnapping in 1996. PREAMBLE In 1996 the kidnapping and murder of the seven French monks of Tibhirine was one of the culminating points of the violence and atrocities in Algeria resulting from the confrontation between the government and extremist terrorist groups that wanted to overthrow it. The disappearance of the monks – caught in a vice between both sides- had a great and long-lasting effect on the governments, religious communities and international public opinion. The identity of the murderers and the exact circumstances of the monks‟ deaths remain a mystery to this day.
    [Show full text]
  • Of Gods and Men
    A Sony Pictures Classics Release Armada Films and Why Not Productions present OF GODS AND MEN A film by Xavier Beauvois Starring Lambert Wilson and Michael Lonsdale France's official selection for the 83rd Academy Award for Best Foreign Language Film 2010 Official Selections: Toronto International Film Festival | Telluride Film Festival | New York Film Festival Nominee: 2010 European Film Award for Best Film Nominee: 2010 Carlo di Palma European Cinematographer, European Film Award Winner: Grand Prix; Ecumenical Jury Prize - 2010Cannes Film Festival Winner: Best Foreign Language Film, 2010 National Board of Review Winner: FIPRESCI Award for Best Foreign Language Film of the Year, 2011 Palm Springs International Film Festival www.ofgodsandmenmovie.com Release Date (NY/LA): 02/25/2011 | TRT: 120 min MPAA: Rated PG-13 | Language: French East Coast Publicist West Coast Publicist Distributor Sophie Gluck & Associates Block-Korenbrot Sony Pictures Classics Sophie Gluck Ziggy Kozlowski Carmelo Pirrone 124 West 79th St. Melody Korenbrot Lindsay Macik New York, NY 10024 110 S. Fairfax Ave., Ste 310 550 Madison Avenue Phone (212) 595-2432 Los Angeles, CA 90036 New York, NY 10022 [email protected] Phone (323) 634-7001 Phone (212) 833-8833 Fax (323) 634-7030 Fax (212) 833-8844 SYNOPSIS Eight French Christian monks live in harmony with their Muslim brothers in a monastery perched in the mountains of North Africa in the 1990s. When a crew of foreign workers is massacred by an Islamic fundamentalist group, fear sweeps though the region. The army offers them protection, but the monks refuse. Should they leave? Despite the growing menace in their midst, they slowly realize that they have no choice but to stay… come what may.
    [Show full text]
  • Frances Gray – Interview Transcript
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frances Gray – interview transcript Interviewer: Kate Dorney 27 June 2005 Writer and theatre-goer, Senior Lecturer at Sheffield University. John Arden; Armstrong's Last Goodnight; Alan Aykbourne; Brenton Bond; Michael Boyd; Bertold Brecht's plays; Brimstone and Treacle; Peter Brook; Chichester Festival Theatre; The Crucible Theatre, Shefffield; Steve Daldry; Peter Daubeny's international theatre seasons; Flourish; Marat/Sade; The National Theatre; Laurence Olivier; Othello; John Osborne; programmes; published plays; radio; Royal Hunt of the Sun; Royal Shakespeare Company; Shakespeare; Maggie Smith; theatre-going; Mary Ure; US; David Warner KD: This is Kate Dorney interviewing Frances Gray for the British Library Theatre Archive. Frances, would you care to give your consent for this being deposited in the Sound Archive of the British Library? FG: Yes. KD: OK, I wondered if you could tell me a little bit about your general experience of theatre. FG: I think it started when I was about eleven and we did Midsummer Night’s Dream, and that got me hooked on Shakespeare and on theatre in general and I remember desperately wanting to be a director and not knowing how you did that from a girl’s grammar school in Portsmouth. The only stuff to go and see - other than what we made ourselves - were the local amateurs on the pier, and our local amateurs were noted for doing every single play of Shakespeare - they were going for some sort of record and I hit Titus Andronicus year which was huge fun because they had obviously seen the Peter Brook one, the one where Brook brought Lavinia on with great swathes of red velvet on the wrists.
    [Show full text]
  • Participation List 2011
    THE UNIVERSITY INTERSCHOLASTIC LEAGUE P. O. BOX 8028 AUSTIN, TEXAS 78713-8028 ONE-ACT PLAY ENTRIES 2010-2011 Listed in Alphabetical Order by Town/School 1218 SENIOR HIGH SCHOOLS PARTICIPATING SCHOOL PLAY DIRECTOR OF RECORD A ABBOTT HS Leading Ladies T ravis W alker ABERNATHY HS Voices Robin Y oungblood ABILENE COOPER HS Moon Over Buffalo T im Haynes ABILENE HS Much Ado About Nothing Clay Freeman ABILENE WYLIE HS And The Rain Came To Mayfield Gina Aplin ACKERLY SANDS HS Flowers for Algernon T ana Howard ADRIAN HS Double Date Michael Norrell AFTON PATTON SPRINGS HS Necessary Targets Cristy McClenny AGUA DULCE HS Sylvia Elizabeth W allek ALBA ALBA-GOLDEN HS Medea Terri Dievendorf ALBANY HS Alice in Wonderland Greta J. W aldrip ALEDO HS Glory Days Collard Christy ALICE HS Turandot Darleen T otten ALIEF ELSIK HS The Heiress James J. W atkins ALIEF HASTINGS HS One Flew Over the Cuckoo's Nest Connie Rudd ALIEF KERR HS Rosencrantz and Guildenstern are Dead Julie M. R yan ALIEF TAYLOR HS Home Fires Roxanna S. Barnes ALLEN HS The Bald Soprano Carrie L .Howell ALPINE HS Asylum Jim Lee ALTAIR RICE HS The Elephant Man Brennan W . Jobe ALTO HS The Terezin Promise Erin McClendon ALVARADO HS The Madwoman of Chaillot JoAnn Gracey ALVIN HS Blood Wedding Laurie Reese AMARILLO CAPROCK HS Antigone Linda F . Fer guson AMARILLO HIGHLAND PARK HS The Ash Girl Patricia A. Cowden AMARILLO HS Jane Eyre Jerry B. McFarland AMARILLO PALO DURO HS The Dead Guy Shannon J. Mashburn AMARILLO RIVER ROAD HS Mariner King Hill AMARILLO TASCOSA HS Epic Proportions Robin Downs AMHERST HS The Small World of Millie McIvor Melanie M.
    [Show full text]
  • ANNA KARENINA on the LARGE and SMALL SCREEN Peter Cochran
    1 ANNA KARENINA ON THE LARGE AND SMALL SCREEN Peter Cochran Edmund Goulding, 1927; Clarence Brown, 1935; Julien Duvivier, 1948; Rudolph Cartier, 1961; Alexandr Zarkhi, 1967; Basil Coleman, 1977; Simon Langton, 1985; Bernard Rose, 1997; David Blair, 2000; Sergei Solovyov, 2005; Joe Wright, 2012 It seems impossible to make a fully-balanced film or television version of Tolstoy’s Anna Karenina . Despite the film-makers’ best intentions, something always goes wrong. The main problem is that the films are, for the most part, two hundred years behind Tolstoy in moral complexity, and in frankness about love, sex, and human relations. Not until the year 2000 do they catch up with him. As a result, most early twentieth-century films represent, not a reaction to Tolstoy, but a deflection of attention away from him. The novel is either a beautiful tale of doomed romance, or a dissection of the way the female sexual impulse wreaks havoc if given too loose a rein … or both. Most films opt for the former interpretation, as more marketable. There are some things which novels can do but which films can’t: At the very moment when Vronsky thought that now was the time to overtake Mahotin, Frou-Frou herself, understanding his thoughts, without any incitement on his part, gained ground considerably, and began getting alongside of Mahotin on the most favorable side, close to the inner cord. Mahotin would not let her pass that side. Vronsky had hardly formed the thought that he could perhaps pass on the outer side, when Frou-Frou shifted her pace and began overtaking him on the other side.
    [Show full text]
  • Shylock : a Performance History with Particular Reference to London And
    University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. CHAPTER 1 SHYLOCK & PERFORMANCE Such are the controversies which potentially arise from any new production of The Merchant of Venice, that no director or actor can prepare for a fresh interpretation of the character of Shylock without an overshadowing awareness of the implications of getting it wrong. This study is an attempt to describe some of the many and various ways in which productions of The Merchant of Venice have either confronted or side-stepped the daunting theatrical challenge of presenting the most famous Jew in world literature in a play which, most especially in recent times, inescapably lives in the shadow of history. I intend in this performance history to allude to as wide a variety of Shylocks as seems relevant and this will mean paying attention to every production of the play in the Shakespeare Memorial Theatre and the Royal Shakespeare Theatre, as well as every major production in London since the time of Irving. For reasons of practicality, I have confined my study to the United Kingdom1 and make few allusions to productions which did not originate in either Stratford or London.
    [Show full text]
  • The Cambridge Companion to Christopher Marlowe Edited by Patrick Cheney Frontmatter More Information
    Cambridge University Press 0521527341 - The Cambridge Companion to Christopher Marlowe Edited by Patrick Cheney Frontmatter More information The Cambridge Companion to Christopher Marlowe The Cambridge Companion to Christopher Marlowe provides a full introduc- tion to one of the great pioneers of both the Elizabethan stage and modern English poetry. It recalls that Marlowe was an inventor of the English history play (Edward II) and of Ovidian narrative verse (Hero and Leander), as well as being author of such masterpieces of tragedy and lyric as Doctor Faustus and ‘The Passionate Shepherd to His Love’. Seventeen leading scholars provide accessible and authoritative chapters on Marlowe’s life, texts, style, politics, religion, and classicism. The volume also considers his literary and patronage relationships and his representations of sexuality and gender and of geography and identity; his presence in modern film and theatre; and finally his influence on subsequent writers. The Companion includes a chronology of Marlowe’s life, a note on reference works, and a reading list for each chapter. © Cambridge University Press www.cambridge.org Cambridge University Press 0521527341 - The Cambridge Companion to Christopher Marlowe Edited by Patrick Cheney Frontmatter More information Portrait (putative) of Christopher Marlowe. Courtesy of the Master and Fellows of Corpus Christi College, Cambridge. The College cannot vouch for the identity of the portrait. © Cambridge University Press www.cambridge.org Cambridge University Press 0521527341 - The Cambridge
    [Show full text]
  • Download Catalog
    2019-2020 Educational Streaming Catalog AmbroseVideo.com 1 HIGH DEFINITION: CONCEPT CLIPS: It’s our starting point. We constantly hear that we Over 1500 stand-alone concept clips available, as well have the best video stream available. It’s because we as the ability for Instructors to create custom clips. produce 70% of what we release in any given year. We recognized early on the importance of producing in HD. USAGE STATISTICS: Quality you can count on. We have formatted our Statistics to be compatible with the information provided by COUNTER, though we are DYNAMIC BIT RATE SWITCHING: not an officially compliant member of that organization. Our system detects screen size, type of device and If there are other COUNTER reports that you would like available bandwidth, automatically sending the best to see, please don't hesitate to contact your Sales Rep, stream possible, fluctuating between 400kbps to and we'll do our best to incorporate them. 2500kbps in Standard Definition and 2000 kbps to 4000 kbps in High Definition. DOWNLOADABLES: User Guides, Timelines, Historical Documents, Maps, MOBILE DEVICE AVAILABILITY: Models, Quizzes, etc. Our streams can be accessed by any mobile device, whether Apple, PC or Android, right through the NEW FEATURES: device’s browser, needing no special apps or Rolling Transcripts as well as closed captions for every communications, at no extra cost. video, HTML Widgets to promote videos, and an Image Gallery for each series. SEARCHABLE CLOSED CAPTIONING: Available on 100% of our streaming collection. The CITE TABS: ability to watch the dramatic portrayal while reading Producer and copyright dates on every Video Player the closed captions allows an understanding of Page.
    [Show full text]
  • February 27, 2018 (XXXVI:5) Fred Zinnemann HIGH NOON (1952), 85 Min
    February 27, 2018 (XXXVI:5) Fred Zinnemann HIGH NOON (1952), 85 min. DIRECTOR Fred Zinnemann WRITER Carl Foreman (screenplay), John W. Cunningham (from “The Tin Star”) PRODUCER Stanley Kramer MUSIC Dimitri Tiomkin CINEMATOGRAPHY Floyd Crosby EDITOR Elmo Williams SINGER Tex Ritter LYRICIST Ned Washington CAST FRED ZINNEMANN (b. April 29, 1907, Vienna, Austria—d. Gary Cooper…Will Kane March 14, 1997, London, England) was considered for several Thomas Mitchell…Jonas Henderson years, along with William Wyler and George Stevens, one of the Lloyd Bridges…Harvey Pell three directorial “intellectuals” in Hollywood. Initially, Katy Jurado…Helen Ramirez Zinnemann planned to become a lawyer until he saw three films Grace Kelly…Amy Kane that forever changed his future: Greed (1924), The Big Parade Otto Kruger…Percy Mettrick (1925) and Battleship Potemkin (1925). After college, he Lon Chaney Jr….Martin Howe become an assistant cameraman in Berlin, where, in the company Harry Morgan…Sam Fuller of such future Hollywood filmmakers as Robert Siodmak, Billy Ian MacDonald…Frank Miller Wilder and Edgar G. Ulmer, he would collaborate on the Eve McVeagh…Mildred Fuller celebrated documentary, People on a Sunday (1929). In 1929, he Morgan Farley…Minister emigrated to Hollywood where he was hired as an extra on Lewis Harry Shannon…Cooper Milestone’s All Quiet on the Western Front (1930). Following Lee Van Cleef…Jack Colby years directing now forgotten B-movies, Zinnemann eventually Robert J. Wilke…James Pierce established a name for himself in 1948 with The Search, a film Sheb Wooley…Ben Miller following the growing friendship between a GI (Montgomery Jack Elam…Charlie Clift) and a young concentration camp survivor.
    [Show full text]
  • The Fight Master, Spring/Summer 2005, Vol. 28 Issue 1
    Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Summer 2005 The Fight Master, Spring/Summer 2005, Vol. 28 Issue 1 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/fight Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons TheThe FightFightwww.safd.org JournalJournal ofof thethe Master MasterSocietySociety ofof AmericanAmerican FightFight DirectorsDirectors TheThe SearchSearch forfor StyleStyle inin TROYTROY Defiant Acts: Fight 2004 The End of an Direction NSCW Era of Stage in Musical and Barn Combat in Theatre Workshop Chicago Reports Spring/Summer 2005 Vol XXVIII Number 1 STAGE COMBAT: EXTREME ACTING Coleman (Bill Christ) is biting Valene (Mark Rubald) in the 2002 Denver Center Theatre Company’s production of Martin McDonaugh’s Lonesome West. Directed by Anthony Powell. Fight Direction by Geoffrey Kent. Photograph courtesy of Denver Center Media. The Society of American Fight Directors 26th Annual National Stage Combat Workshops July 11-29, 2005 SAFD and University of Nevada-Las Vegas College of Fine Arts, Department of Theatre For more information: Linda McCollum at (702) 895-3662 or www.safd.org Actor/Combatant Workshop (ACW) Advanced Actor/Combatant Workshop (AACW) Train in the foundation skills of stage combat. World-class industry pro- Not for the "weak of skill," this intense workshop offers Advanced fessionals teach techniques in Rapier and Dagger, Unarmed and Actor/Fighters the opportunity to challenge and hone their existing skills at Broadsword. Additionally, participants will receive an introduction to a highly sophisticated level.
    [Show full text]
  • Edward Hardwicke – Interview Transcript
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Edward Hardwicke – interview transcript Interviewer: Kate Harris 6 November 2007 Actor. Acting styles; Berthold Brecht; Bristol Old Vic.; The Crucible; John Dexter; film; the National Theatre; the Old Vic, Laurence Olivier; make-up; Othello; repertory; Ralph Richardson; Royal Academy of Dramatic Art; Royal Hunt of the Sun; television; theatre- going habits; Kenneth Tynan; Robert Wagner; the West of England Theatre Company. KH: This is an interview on 6th November with Edward Hardwicke. Kate Harris is conducting the interview. Can I begin by asking how you first became interested in the theatre? EH: Well it was a bit difficult for me not to be, because both my parents were actors, so I grew up surrounded by that kind of atmosphere. And in the sort of dark moments, which we all have in this business, I often wondered whether I ended up being an actor simply because of that, because I didn’t know anything [else], or whether I really, really wanted to do it off my own bat. Because I was absolutely surrounded by actors. In reality I think I wanted to be a comedian… my great heroes were… was a man called Sid Field who was a wonderful comic – English comic – Danny Kaye, all those people. And of course when I started, which was… I went to drama school in 1952, to RADA – Royal Academy – and I think I’m right in saying that when we graduated two years later there were 90 students who graduated, only one of whom did not work, and that’s because he was not well.
    [Show full text]
  • The English Theatre Studios of Michael Chekhov And
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/57044 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. The English Theatre Studios of Michael Chekhov and Michel Saint-Denis, 1935-1965 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature Thomas Cornford, University of Warwick, Department of English and Comparative Literary Studies May 2012 1 Contents List of illustrations........................................................................................... 4 Declaration..................................................................................................... 8 Abstract........................................................................................................... 9 Preface............................................................................................................ 10 Introduction 1 The Theatre Studio in Context........................................ 12 Introduction 2 Chekhov and Saint-Denis in Parallel............................... 28 Section 1 The Chekhov Theatre Studio at Dartington, 1936- 1938...............................................................................
    [Show full text]