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The Magic Christian on Talking Pictures TV Directed by Joseph Mcgrath in 1969
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 6th April 2020 FREESAT 306 | VIRGIN 445 The Magic Christian on Talking Pictures TV Directed by Joseph McGrath in 1969. Stars: Peter Sellers and Ringo Starr, with appearances by Raquel Welch, John Cleese, Graham Chapman, Spike Milligan, Christopher Lee, Richard Attenborough and Roman Polanski. Sir Guy Grand is the richest man in the world, and when he stumbles across a young orphan in the park he decides to adopt him and travel around the world spending cash. It’s not long before the two of them discover on their happy-go-lucky madcap escapades that money does, in fact, buy anything you want. Airs on Saturday 11th April at 9pm Monday 6th April 08:55am Wednesday 8th April 3:45pm Thunder Rock (1942) Heart of a Child (1958) Supernatural drama directed by Roy Drama, directed by Clive Donner. Boulting. Stars: Michael Redgrave, Stars: Jean Anderson, Barbara Mullen and James Mason. Donald Pleasence, Richard Williams. One of the Boulting Brothers’ finest, A young boy is forced to sell the a writer disillusioned by the threat of family dog to pay for food. Will his fascism becomes a lighthouse keeper. canine friend find him when he is trapped in a snowstorm? Monday 6th April 10pm The Family Way (1966) Wednesday 8th April 6:20pm Drama. Directors: Rebecca (1940) Roy and John Boulting. Mystery, directed by Alfred Hitchcock Stars: Hayley Mills, Hywel Bennett and starring Laurence Olivier, John Mills and Marjorie Rhodes. Joan Fontaine and George Sanders. -
Look at Life on Talking Pictures TV Talking Pictures TV Are Delighted to Bring to the ‘Small Screen’ the ‘Big Screen’ Production: “Look at Life”
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 3rd May 2021 FREESAT 306 | VIRGIN 445 Look at Life on Talking Pictures TV Talking Pictures TV are delighted to bring to the ‘small screen’ the ‘big screen’ production: “Look at Life”. All shot on 35mm, this iconic Rank production, made from the late 50s through to the early 60s, was a mainstay at all rank cinemas. Enjoy the cars, fashions, transport, and much more when you “Look at Life” again on Talking Pictures TV. The films will be airing throughout May. Monday 3rd May 12:10pm Tuesday 4th May 6:30pm Bank Holiday (1938) The Net (1953) Drama. Director: Carol Reed. Thriller. Director: Anthony Asquith. Stars: John Lodge, Margaret Lockwood, Stars: James Donald, Phyllis Calvert, Hugh Williams, Rene Ray, Wally Patch, Robert Beatty, Herbert Lom. A scientist Kathleen Harrison, Wilfrid Lawson and in a supersonic flight project risks his life. Felix Aylmer. A group of people encounter strange situations when they Wednesday 5th May 8:45am visit a resort to spend the weekend. The Sky-Bike (1967) Director: Charles Frend. Stars: Monday 3rd May 3pm Liam Redmond, William Lucas, Ian Ellis, Pollyanna (2002) Ellen McIntosh, Spencer Shires, Drama. Director: Sarah Harding. Della Rands, John Howard, Bill Shine, Stars: Amanda Burton, Georgina Terry David Lodge and Guy Standeven. and Kenneth Cranham. Adaptation of Young Tom builds a flying machine. the classic tale. Young orphan Pollyanna goes to stay with Aunt Polly, bringing Wednesday 5th May 12:20pm mirth and mayhem to her new home. -
The Importance of Being Earnest on Talking Pictures TV Stars: Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin, Margaret Rutherford
Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 21st September 2020 FREESAT 306 | VIRGIN 445 The Importance of Being Earnest on Talking Pictures TV Stars: Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin, Margaret Rutherford. Directed by Anthony Asquith in 1952. Algernon discovers that his friend Ernest has a fictional brother and poses as the brother. Film adaptation of the 1895 Oscar Wilde play. Prepare to join in with Edith Evans as she makes her immortal delivery of the legendary words: “A handbag?” Airs: Monday Sunday 27th September 7:10pm. Monday 21st September 8:35am Wednesday 23rd September 8:45am Spring Meeting (1941) Trouble Brewing (1939) Comedy. Directors: Norman Lee, Comedy. Director: Anthony Kimmins. Walter C. Mycroft. Stars: George Formby, Stars: Enid Stamp-Taylor, Googie Withers & Gus McNaughton. Michael Wilding, Basil Sydney, George wins a lot of money at Sarah Churchill, Nova Pilbeam, the races, but he’s paid with Margaret Rutherford. An adventuress counterfeit money. and her son seek financial and romantic success in an Irish manor. Wednesday 23rd September 11:50am Monday 21st September 6:55pm 80,000 Suspects (1963) Mr Denning Drives North (1951) Drama. Director: Val Guest. Crime. Director: Anthony Kimmins. Stars: Claire Bloom, Richard Johnson Stars: John Mills, Phyllis Calvert and and Yolande Donlan. A doctor’s Eileen Moore. A British aircraft engineer already shaky marriage is tested accidentally kills his daughter’s when he has to contend with a boyfriend and tries to it cover up... smallpox epidemic. Tuesday 22nd September 12:15pm Wednesday 23rd September The Holly and the Ivy (1952) 6:50pm Drama. -
![1939-01-25 [P A-8]](https://docslib.b-cdn.net/cover/6538/1939-01-25-p-a-8-2056538.webp)
1939-01-25 [P A-8]
technicolor: 12:10, 2:30, 4:50, 7:10 AMUSEMENTS._ Mr. Hitchcock Proves In a New British Where and When and 9:30 pm. Really Mystery Little—“100 Men and a Girl,” Deanna Durbin sings, Leopold Sto- Current Theater Attractions a kowski conducts the orchestra: 11 Film Director’s Medium and Time of Showing a.m., 12:45, 2:35, 4:20, 6:05, 7:45 and 'NIGHT AT 8:S0 9:40 p.m. The troly Joyous comedy hy and from Ian Hay’s nerul “The Henoemaater" ‘The National—“Bachelor Born," Ian BeUsco—“Beethoven Concerto,” Lady Vanishes’ Is Case in Point; Hay’s hit comedy of school life: new film with much of the master’s 2:30 and 8:30 music: 8:10 and 9:50 BACHELOR BORN Picture Also Introduces New p.m. 4:50, 6:20, pm. Capitol—"Stand Up and Fight,” Trans-Lux—News and shorts; con- It’s a wow!—WaHar Wlneholl Bob Taylor helps railroads battle tinuous from 10 am. Eyes.. 05c. (1.10, fl.SS, *2.20 Recruit for Wed-Sat. Mats., fide, Sl.IO. Sl.U English Hollywood stage coaches: 10:30 am., 1:20, 4:10, By JAY CARMODY. 7:05 and 9:55 p.m. Stage shows: 12:30, 3:20, 6:10 and 9:05 pm. School NATIONAL—This One of the things they insist upon in Hollywood is that the motion Play Tryouts Thursday The of picture is a director’s medium, something for which one cannot blame Earle—“Zaza," Claudette Colbert Players’ Club the Central 4 O'Clock the actor and the writer. -
File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole. -
"Enhanced Filmography." Hitchcock's Appetites
McKittrick, Casey. "Enhanced Filmography." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 176–192. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 17:41 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Enhanced Filmography 1) The Pleasure Garden (1925) Screenplay : Eliot Stannard, based on the novel The Pleasure Garden by Oliver Sandys Producer : Michael Balcon, Erich Pommer, Bavaria Film, Gainsborough Pictures, M ü nchner Lichtspielkunst AG (Emelka) Runtime : 75 minutes Cast : Virginia Valli, Carmelita Geraghty, Miles Mander, John Stuart, Ferdinand Martini, Florence Helminger During two intercut dinner table sequences, two couples sit with tea sets and small plates in front of them; the couple that is eating and drinking end up falling in love. 2) The Lodger (also titled The Lodger: A Story of the London Fog ) (1927) Screenplay : Eliot Stannard, Alfred Hitchcock (uncredited), based on the novel The Lodger and the play Who Is He? , both by Marie Belloc Lowndes Producer : Gainsborough Pictures, Carlyle Blackwell Productions, Michael Balcon, Carlyle Blackwell Runtime : 68 minutes Cast : Marie Ault, Arthur Chesney, June, Malcolm Keen, Ivor Novello When the Lodger (Ivor Novello) arrives at the Buntings ’ boardinghouse, he immediately requests some bread, butter, and a glass of milk. Hitchcock wanted to suggest that he was preserving his waifi sh fi gure. 3) Downhill ( When Boys Leave Home ) (1927) Screenplay : Constance Collier (play), Ivor Novello (play), Eliot Stannard (adaptation) Producer : Gainsborough Pictures, Michael Balcon, C. -
Title: Get the London Look: Anna Neagle As the Emblem of British Fashion and Femininity in Maytime in Mayfair (1949). Between 19
Title: Get the London Look: Anna Neagle as the Emblem of British Fashion and Femininity in Maytime in Mayfair (1949). Between 1947 and 1952, the top British female star at the domestic box office was Anna Neagle. She had displaced Margaret Lockwood, who had achieved the top position during the war years with her turns as dangerous and subversive women in Gainsborough pictures such as The Man in Grey (Arliss, 1943) and, most famously, The Wicked Lady (Arliss, 1945). In both films Lockwood co-starred with James Mason, the brooding, somewhat sadistic idol to a legion of female fans. Mason, mirroring Lockwood’s popularity, was the top male star of 1945 and his appeal was a ‘combination of romantic allure and Sadean fascination’ (Evans 2001: 108) – an appeal that meshed with Lockwood’s ‘unity of transgression and sexual appetite’ (Babington 2001: 94). Aimed at a largely female audience, the Gainsborough melodramas provided escapism and the danger and sexual allure of the characters and stars resulted in a skewing of ‘moral logic’ (Leach 2004: 67), which Jeffrey Richards reads as revelatory of the wartime dislocation of moral values (Richards 1985: 292). With the end of the war, however, there came a reclamation of traditional values, not least in British cinema. In the years immediately following the war, there was a distinct pattern in British films that foregrounded ‘the British people’ as hero, a pattern following the wartime work of Humphrey Jennings in providing images of a united Britain; and the idea image of a Briton was a figure of restraint, good-humour and self-deprecation. -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
Notes and References
Notes and References CHAPTER 1 To provide an intellectual and cultural framework for examining Carol Reed's films, a history of the British cinema from its origins through to the Second World War is offered in this chapter. Although Reed began directing in 1935, 1939 seemed a tidier, more logical cut-off point for the survey. All the information in the chapter is synthesized from several excellent works on the subject: Roy Armes's A Critical History of the British Cinema, Ernest Betts' The Film Business, Ivan Butler's Cinema in Britain, Denis Gifford's British Film Catalogue, Rachel Low's History of the British Film, and George Perry's The Great British Picture Show. CHAPTER 2 1. Michael Korda, Charmed Lives (New York, 1979) p. 229; Madeleine Bingham, The Great Lover (London, 1978). 2. Frances Donaldson, The Actor-Managers (London, 1970) p. 165. 3. Interview with the author. Unless otherwise identified, all quota tions in this study from Max Reed, Michael Korda and Andrew Birkin derive from interviews. 4. C. A. Lejeune, 'Portrait of England's No.1 Director', New York Times, 7 September 1941, p. 3. 5. Harvey Breit, ' "I Give the Public What I Like" " New York Times Magazine, 15January 1950, pp. 18-19. 6. Korda, Charmed Lives, p. 244. 7. Kevin Thomas, 'Director of "Eagle" Stays Unflappable', The Los Angeles Times, 24 August 1969. CHAPTER 3 1. Michael Voigt, 'Pictures of Innocence: Sir Carol Reed', Focus on Film, no. 17 (Spring 1974) 34. 2. 'Midshipman Easy', The Times, 23 December 1935. 271 272 Notes and References 3. -
'How Many Female Scientists Do You Know?'
Review Endeavour Vol.29 No.2 June 2005 ‘How many female scientists do you know?’ Robert A. Jones 4 Leighton Avenue, Meols, Wirral, UK CH47 0LZ The stereotypical scientist wears a lab-coat, is often Female scientists in British films eccentric and is usually male. Images of female scientists The characters of the female scientists in most of these in popular culture remain rare. Some of the first films are not simply versions of the male scientist portrayals of women in science occurred in a handful stereotype played by the opposite sex. They are ordinary of British films made during the 1950s and 1960s. These working women and their situations accurately reflected films reflected the difficulties experienced by women in the conditions for women working in science at that time. science at the time, but they might also explain why However, this is not because the film-makers were representations of female scientists in film continue to searching for realism, but because they were hoping to downplay their role as scientists and emphasize their broaden the appeal of the films by including a ‘love identity as women. interest’. Several generalizations can be made about the way that female scientists are portrayed in these films. Carry On with science If you were looking for an image of a female scientist in a Alone but ordinary British film, you probably wouldn’t think of starting with In all of these films there is only one female scientist the Carry On films. But in the 1960 film Watch Your Stern, working as part of the research team. -
CRITERION COLLECTION PRESENTS the Forgiveness of Blood
AVAILABLE on BLU-RAY AnD DVD! THE CRITERION COLLECTION PRESENTS ThE FoRgIVEnEss oF BLooD THE STARTLING NEW DRAMA FROM THE DIRECTOR OF MARIA FULL OF GRACE FRESH FROm its THEaTRICaL RuN! american director JOSHUA MARSTON broke out in 2004 with his jolting, Oscar-nominated Maria Full of Grace, about a young Colombian woman working as a drug mule. In his remarkable follow-up, The Forgiveness of Blood, he turns his camera on another corner of the world: contemporary northern albania, a place still troubled by the ancient custom of interfamilial blood feuds. From this reality, marston sculpts a fictional narrative about a teenage brother and sister physically and emotionally trapped in a cycle of violence, a result of their father’s entanglement with a rival clan over a piece of land. The Forgiveness of Blood is a tense and perceptive depiction of a place where tradition and progress have an uneasy coexistence, as well as a dynamic coming-of-age drama. WINNER DIRECTOR-APPROVED Best SCREENPLay, BERLIN FILm FestivaL, 2011 SPECIAL EDITION FEATURES · New high-definition digital transfer, approved by producer Paul mezey, with 5.1 surround DTS-HD “Marston may be indie cinema’s finest master audio soundtrack on the Blu-ray edition immersive journalist.” · Audio commentary featuring director and cowriter —David Fear, Time Out New York Joshua marston · Two new video programs: Acting Close to Home, “An accomplished and suspenseful drama.” a discussion between marston and actors Refet —The Hollywood Reporter abazi, Tristan Halilaj, and Sindi Laçej, and Truth on the Ground, featuring new and on-set interviews with mezey, abazi, Halilaj, and Laçej BLU-RAY EDITION SRP $39.95 PREBOOk 9/18/12 STREET 10/16/12 · audition and rehearsal footage CaT. -
July 2015 at BFI Southbank
July 2015 at BFI Southbank SEASONS London on Film / Onstage: actors James Fox, Mark Lester and Ian Hart, director Waris Hussein, producer Sandy Lieberson Orson Welles: The Great Disruptor Part 1 / Onstage: producer Leslie Megahey The Complete Dennis Potter: Messages for Posterity – Part 4: Sex and Death / Onstage: actors Alison Steadman, Janet Suzman and Kika Markham, directors Renny Rye and Jon Amiel, producer Kenith Trodd The 10 Greatest Documentaries of All Time London Indian Film Festival / Onstage: directors Ananth Narayan and Aditya Vikram Sengupta EVENTS, PREVIEWS AND REGULAR STRANDS SONIC CINEMA: Public Service Broadcasting Live at BFI Southbank, How We Used to Live with Saint Etienne live soundtrack (Paul Kelly, 2013), Preview: Eden (Mia Hansen-Løve, 2014) / Onstage: bands Public Service Broadcasting and Saint Etienne FAMILY FUNDAY PREVIEW: Inside Out (3D) (Pete Docter, 2015) / Onstage: Director Pete Docter, Producer Jonas Riveras CULT: DEATH IN THE FAMILY – Parents (Bob Balaban, 1989), Society (Brian Yuzna, 1989) BFI FLARE: Heavenly Creatures (Peter Jackson, 1994), Free Fall (Stephen Lacant, 2013) MEMBER EXCLUSIVES: Member Pick: Don’t Look Now (Nicolas Roeg, 1973) AUDIENCE CHOICE: On the theme of music festivals AFRICAN ODYSSEYS: Njinga, Queen of Angola (Sérgio Graciano, 2013) / Onstage: historian Dr Ama Biney ESSENTIAL EXPERIMENTS: Stalking London / Onstage: artist Cordelia Swann EXTENDED RUNS Touch of Evil (Orson Welles, 1958), part of Orson Welles Magician: The Astonishing Life and Work of Orson Welles (Chuck