PDF EPUB} the Witch at No

Total Page:16

File Type:pdf, Size:1020Kb

PDF EPUB} the Witch at No Read Ebook {PDF EPUB} The Witch At No. 13 by Gyles Brandreth John Gielgud: An Actor's Life: Centenary Edition. John Gielgud was born in April 1904. When he died in May 2000, he was honoured as 'the giant of twentieth-century theatre.' In the centenary edition of this acclaimed biography, Gyles Brandreth draws from over thirty years of conversations with Gielgud to tell the extraordinary story of a unique actor, film star, director and raconteur. In 1921 Gielgud made his first appearance at the Old Vic in London and through the next eight decades he dominated his profession - initially as a classical actor, later in plays by Harold Pinter and Alan Bennett. In his twenties he had appeared in silent movies: more than half a century later, he emerged as a Hollywood star, winning his first Oscar at the age of seventy-eight. With wonderful anecdotes, and contributions from Kenneth Branagh, Alec Guinness, Paul Scofield, Donald Sinden and Peter Hall, John Gielgud: An Actor's Life is a compelling, humorous and moving account of a remarkable man. Praise : 'Gyles Brandreth's memoir of Gielgud is vastly entertaining. a fascinating account of the actor's life' - Charles Osborne, Sunday Telegraph. 'A sense of delight permeates Gyles Brandreth's John Gielgud: An Actor's Life . Brandreth combines neat reportage, deft evocation and lovely tales about a man he knew and relished' - Benedict Nightingale, The Times. 'A delightful memoir which tells you all you need to know and collects all the anecdotes' - Michael Coveney, Daily Mail. 'A testimony to Gyles Brandreth's talent . Avoiding the usual tedious cradle-to-grave narrative, Brandreth braids Gielgud's own reminiscences with those from friends and colleagues. What sets this apart from the usual kind of puff is Brandreth's own voice, directing our responses to Gielgud's art' - Kathryn Hughes, Daily Telegraph. 'Full of personal detail. a treasure trove of anecdote but also clear and informative. Brandreth's immaculate, charming and deceptively modest book . fascinating.' - Carole Woddis, Glasgow Herald. 'Cometh the hour, cometh the biography' - Stratford-upon-Avon Herald. Meghan Markle's "Rift" with the Royal Family Reportedly Began Days After Her Wedding to Prince Harry. It didn't take long after Meghan Markle's royal wedding to Prince Harry for rumors of a rift between the Duchess of Sussex and the rest of the royal family to begin. According to royal author Lady Colin Campbell, that's because it didn't take long for said rift to form. Campbell, whose newest royal book, Meghan and Harry: The Real Story , is set to be released later this summer, claims that Meghan's problems with the rest of royal family began just four days after her fairytale wedding in Windsor. "I knew the tremendous amount of hope the Royal Family invested in Meghan being a success,” Campbell told The Daily Star . “Hundreds of millions of people of color were rooting for Meghan, I was rooting for Meghan, being a Jamaican, I was emotionally invested in Meghan’s success. Virtually everybody I know, including my Royal friends, the wider aristocracy, wanted Meghan to be a success. But it quickly became apparent the ride may not be as smooth as everybody had hoped it would be, and it would not be as quite as positive as everybody had hoped it would be." She's dodgy about sharing the details (which she promises are available in their tea-filled glory in the book), but she teased that the inciting incident took place during a garden party to celebrate Prince Charles' 70th birthday, during which Meghan allegedly did something that "astonished" one guest that is described as having "impeccable palace connections." "I can’t repeat it exactly, it’s in the book, but what I can say is, something happened at the very first garden party at Buckingham Palace…we were all absolutely gobsmacked and astonished, we all thought this doesn’t bode well," she teased. The book, if you want to read the full version of the story, is due out on July 28. Details about The Witch at No.13 (Young Puffin Story Books S.) by Gyles, Brandreth 0140369112. You must return items in their original packaging and in the same condition as when you received them. If you don't follow our item condition policy for returns , you may not receive a full refund. Refunds by law: In Australia, consumers have a legal right to obtain a refund from a business if the goods purchased are faulty, not fit for purpose or don't match the seller's description. More information at returns ..
Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • From Confederate Deserter to Decorated Veteran Bible Scholar: Exploring the Enigmatic Life of C.I
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 12-2011 From Confederate Deserter to Decorated Veteran Bible Scholar: Exploring the Enigmatic Life of C.I. Scofield 1861-1921. D. Jean Rushing East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the United States History Commons Recommended Citation Rushing, D. Jean, "From Confederate Deserter to Decorated Veteran Bible Scholar: Exploring the Enigmatic Life of C.I. Scofield 1861-1921." (2011). Electronic Theses and Dissertations. Paper 1380. https://dc.etsu.edu/etd/1380 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. From Confederate Deserter to Decorated Veteran Bible Scholar: Exploring the Enigmatic Life of C.I. Scofield, 1861-1921 _____________________ A Thesis presented to the faculty of the Department of History East Tennessee State University In partial fulfillment of the requirements for the degree Master of Arts in History _____________________ by D. Jean Rushing December 2011 _____________________ Dr. William Burgess, Chair Dr. Leila al-Imad Dr. Tom Lee Keywords: C. I. Scofield, Dispensationalism, Fundamentalism, The Scofield Reference Bible, Confederate Soldier, Manhood ABSTRACT From Confederate Deserter to Decorated Veteran Bible Scholar: Exploring the Enigmatic Life of C.I. Scofield, 1861-1921 by D. Jean Rushing Cyrus Ingerson Scofield portrayed himself as a decorated Confederate veteran, a successful lawyer, and a Bible scholar who was providentially destined to edit his 1909 dispensational opus, The Scofield Reference Bible.
    [Show full text]
  • Losing Willwalking a Tightrope to Fame
    A&E [email protected] thursday, 29 november, 2007 Social Losing Will walking a tightrope to fame intercourSe Joe Vanderhelm talks botched audio, improvising scripts, and hoping that his locally filmed Grant MacEwan/University of Alberta Big Band Concert flick—complete with Edmonton scenery and music—has enough pull to reach cult status Monday, 3 December at 7:30pm John L Haar Theatre (10045 155 Street) filmpreview Performing together on the same stage, the Grant Losing Will MacEwan big band and the University of Alberta Runs 7–9 December big band will combine this coming Monday, creat- Directed by Mike Robertson and Arlen Konopaki ing a band the size of which can’t be described with Starring Arlen Konopaki, Joe Vanderhelm, and a simple adjective like big. Rather, it would require a Julian Faid conglomeration of descriptors, like “ginormous” or Metro Cinema “hugelarge.” Conducted by professors Raymond Baril and Dr Tom Dust, the humungollossal group will play BRYAN SAUNDERS a wide selection of jazz standards and should provide Arts & Entertainment Staff an entertaining night for fans of the genre. As Joe Vanderhelm, one of the stars of Highwire Films’ Losing Will, puts it, producing a local Trooper independent movie is a lot like walking on a Thursday, 29 November at 8pm tightrope. Century Casino (13103 Fort Road) “When you think of [a] high-wire act, there’s the chance of falling and the chance of failure, Here they come, classic rock group Trooper, driving in a but that always just makes it all the more inter- bright white sports car on their way through Edmonton.
    [Show full text]
  • J Ohn F. a Ndrews
    J OHN F . A NDREWS OBE JOHN F. ANDREWS is an editor, educator, and cultural leader with wide experience as a writer, lecturer, consultant, and event producer. From 1974 to 1984 he enjoyed a decade as Director of Academic Programs at the FOLGER SHAKESPEARE LIBRARY. In that capacity he redesigned and augmented the scope and appeal of SHAKESPEARE QUARTERLY, supervised the Library’s book-publishing operation, and orchestrated a period of dynamic growth in the FOLGER INSTITUTE, a center for advanced studies in the Renaissance whose outreach he extended and whose consortium grew under his guidance from five co-sponsoring universities to twenty-two, with Duke, Georgetown, Johns Hopkins, North Carolina, North Carolina State, Penn, Penn State, Princeton, Rutgers, Virginia, and Yale among the additions. During his time at the Folger, Mr. Andrews also raised more than four million dollars in grant funds and helped organize and promote the library’s multifaceted eight- city touring exhibition, SHAKESPEARE: THE GLOBE AND THE WORLD, which opened in San Francisco in October 1979 and proceeded to popular engagements in Kansas City, Pittsburgh, Dallas, Atlanta, New York, Los Angeles, and Washington. Between 1979 and 1985 Mr. Andrews chaired America’s National Advisory Panel for THE SHAKESPEARE PLAYS, the BBC/TIME-LIFE TELEVISION canon. He then became one of the creative principals for THE SHAKESPEARE HOUR, a fifteen-week, five-play PBS recasting of the original series, with brief documentary segments in each installment to illuminate key themes; these one-hour programs aired in the spring of 1986 with Walter Matthau as host and Morgan Bank and NEH as primary sponsors.
    [Show full text]
  • Cinematic Hamlet Arose from Two Convictions
    INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films.
    [Show full text]
  • THE “TENET” THEORY Written by Esmarelda Villalobos
    THE “TENET” THEORY Written by Esmarelda VillaLobos WARNING: MAJOR SPOILERS AHEAD. “Tenet” begins with an attack on the arts. It is the first event in the film, right out of the gate, that sets the tone for the rest of the movie. In fact, in this film there are multiple attacks on art, but in the first few minutes of this topsy-turvy ride, we as the audience witness some kind of terrorist attack that occurs during the preparations for an orchestral performance somewhere in Russia, which, given the number of public shootings and horrific terrorist attacks that have plagued the world throughout the last decade, is not that far of a stretch from the truth. The first line of the film is “Time to wake up the Americans” to which we are now introduced to John David Washington’s character as The Protagonist. Through a series of what seems to be party-switching and criss-crossery (if that’s even a word), John David Washington is eventually caught. While under capture and interrogation, The Protagonist decides to sacrifice his own life for the good of the cause and swallow a cyanide pill given to him by the CIA. Cut to black. When we as the audience come back, John David Washington is in a hospital bed on a very large ship, somewhere beyond the sea. Now, on first viewing if you are to watch this film, you believe everything that is said – the cyanide pill is a fake, his taking it was a test to see if he would sacrifice himself in order to avoid torture and potentially give up secrets – which he did.
    [Show full text]
  • A Pinewood Dialogue with Kenneth Branagh and Michael Caine
    TRANSCRIPT A PINEWOOD DIALOGUE WITH KENNETH BRANAGH AND MICHAEL CAINE The prolific and legendary actor Michael Caine starred in both the 2007 film version of Sleuth (opposite Jude Law) and the 1972 version (opposite Laurence Olivier). In the new version, an actors’ tour de force directed by Kenneth Branagh and adapted by playwright Harold Pinter, Caine took the role originally played by Olivier. A riveting tale of deception and deadly games, this thriller about an aging crime novelist and a young actor in love with the same woman is essentially about the mysteries of acting and writing. In this discussion, Branagh and Caine discussed their collaboration after a special preview screening. A Pinewood Dialogue following a screening BRANAGH: Rubbish, of course. Rubbish. of Sleuth, moderated by Chief Curator David Schwartz (October 3, 2007): SCHWARTZ: Well, we’ll see, we’ll see. Tell us about how this project came about. It’s an interesting MICHAEL CAINE: (Applause) pedigree, because in a way, it’s a new version, an Good evening. adaptation, of a play. It seems like it’s going to be a remake of the film, but Harold Pinter, of course, KENNETH BRANAGH: Good evening. is the author here. DAVID SCHWARTZ: Welcome and congratulations BRANAGH: As you may have seen from the credits, on a riveting, very entertaining movie. one of the producers is Jude Law. He was the one who had the idea of making a new version, BRANAGH: Thank you. and it was his idea to bring onboard a man he thought he’d never get to do it, but Nobel Prize- CAINE: Thank you.
    [Show full text]
  • Widescreen Weekend 2008 Brochure (PDF)
    A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom.
    [Show full text]
  • Christopher Plummer
    Christopher Plummer "An actor should be a mystery," Christopher Plummer Introduction ........................................................................................ 3 Biography ................................................................................................................................. 4 Christopher Plummer and Elaine Taylor ............................................................................. 18 Christopher Plummer quotes ............................................................................................... 20 Filmography ........................................................................................................................... 32 Theatre .................................................................................................................................... 72 Christopher Plummer playing Shakespeare ....................................................................... 84 Awards and Honors ............................................................................................................... 95 Christopher Plummer Introduction Christopher Plummer, CC (born December 13, 1929) is a Canadian theatre, film and television actor and writer of his memoir In "Spite of Myself" (2008) In a career that spans over five decades and includes substantial roles in film, television, and theatre, Plummer is perhaps best known for the role of Captain Georg von Trapp in The Sound of Music. His most recent film roles include the Disney–Pixar 2009 film Up as Charles Muntz,
    [Show full text]
  • King Lear on Screen Characterisation King Lear King Lear on Screen
    King Lear King Lear on Screen Characterisation King Lear King Lear on Screen Film Versions King Lear (2008) ‘Ian McKellen gives a tour-de-force performance as Shakespeare’s tragic titular monarch in this special television adaptation of the Royal Shakespeare Company production of one of the playwright’s most enduring and haunting works.’ https://www.youtube.com/watch?v=9iyekz9zy_c King Lear (1971) Paul Scofield is the grief-maddened monarch in Peter Brook’s film version. Shot starkly in black and white, minimally scored and imbued with an almost Beckettian gloom, the work has a raw, rough- hewn medievalism perfectly suited to the tragedy. www.imdb.com/title/tt0067306 Excerpts from Film Adaptations The Guardian: a YouTube roundup. http://www.theguardian.com/stage/theatreblog/2014/jan/13/king-lear-simon-russell-beale- national-youtube Actors and Directors Discuss King Lear ‘Understanding King Lear’: actor and director Ian McKellen explains his understanding of Lear’s character. https://www.youtube.com/watch?v=ahFtoCq6CHw ‘How does Lear’s Perception of himself change?’ Cyclone Rep actor David Peare answers the question. https://www.youtube.com/watch?v=V28zr5fQR84 ‘Talking Goneril, Regan and Cordelia’ (National Theatre): Fiona Mountford talks to Kate Fleetwood, Anna Maxwell Martin and Olivia Vinall about playing the three daughters in Lear, being directed by Sam Mendes and performing in the Olivier Theatre. https://www.youtube.com/watch?v=IV7KFy8I39w ‘Talking Gloucester, Edmund and Edgar’ (National Theatre): Stephen Boxer (Gloucester), Sam Troughton (Edmund) and Tom Brooke (Edgar) talk to Mark Leipacher about the National Theatre’s production of King Lear directed by Sam Mendes.
    [Show full text]
  • March 2016 Conversation
    SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WIT H THE NATIONAL ARTS CLUB THE WNDC IN WASHINGTON THE ENGLISH-SPEAKING UNION DIANA OWEN ♦ Tuesday, February 23 As we commemorate SHAKESPEARE 400, a global celebration of the poet’s life and legacy, the GUILD is delighted to co-host a WOMAN’S NATIONAL DEMOCRATIC CLUB gathering with DIANA OWEN, who heads the SHAKESPEARE BIRTHPLACE TRUST in Stratford-upon-Avon. The TRUST presides over such treasures as Mary Arden’s House, WITTEMORE HOUSE Anne Hathaway’s Cottage, and the home in which the play- 1526 New Hampshire Avenue wright was born. It also preserves the site of New Place, the Washington mansion Shakespeare purchased in 1597, and in all prob- LUNCH 12:30. PROGRAM 1:00 ability the setting in which he died in 1616. A later owner Luncheon & Program, $30 demolished it, but the TRUST is now unearthing the struc- Program Only , $10 ture’s foundations and adding a new museum to the beautiful garden that has long delighted visitors. As she describes this exciting project, Ms. Owen will also talk about dozens of anniversary festivities, among them an April 23 BBC gala that will feature such stars as Dame Judi Dench and Sir Ian McKellen. PEGGY O’BRIEN ♦ Wednesday, February 24 Shifting to the FOLGER SHAKESPEARE LIBRARY, an American institution that is marking SHAKESPEARE 400 with a national tour of First Folios, we’re pleased to welcome PEGGY O’BRIEN, who established the Library’s globally acclaimed outreach initiatives to teachers and NATIONAL ARTS CLUB students in the 1980s and published a widely circulated 15 Gramercy Park South Shakespeare Set Free series with Simon and Schuster.
    [Show full text]