DOCSLIB.ORG

Three Men in a Boat the Passionate Stranger Dreaming

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Three Men in a Boat the Passionate Stranger Dreaming Only hard men wear cravats! See These Dangerous Years! Also on release this month: Three Men in a Boat This is My Street The Passionate Stranger The Bailiffs Dreaming The Flying Squad Elstree Calling Drake of England Laburnum Grove Loyalties Death is a Woman King’s Rhapsody The Comedy Man Mister Ten Per Cent All The Way Up Dead Men Are Dangerous Murder in Soho Hide and Seek Legendary crooner Frankie Vaughan stars with George Ian Hendry, June Ritchie, John Hurt, Annette Andre Baker, Kenneth Cope and Thora Hird in this 1957 and Mike Pratt feature among an outstanding cast drama directed by Herbert Wilcox. The first of four films in this mid-sixties realist drama from noted director produced by Wilcox’s wife Anna Neagle and starring Sidney Hayers. This Is My Street is presented Vaughan, These Dangerous Years is presented here in here in a brand-new transfer from the original film a brand-new transfer from the original film elements in elements in its as-exhibited theatrical aspect ratio. its as-exhibited theatrical aspect ratio. Jubilee Close, a drab street of decaying houses in Dave, a young Liverpudlian gang-leader and would-be London’s Battersea, is home to a cross-section of rock ‘n’ roll star, is conscripted into the army where, to working-class families. Yearning to escape from this everyone’s surprise, the rebellious youth makes good. depressing environment is the pretty, ambitious But then he is tricked by the camp bully into crossing Margery Graham; the victim of an enforced marriage... a minefield, causing the death of his best friend. Awaiting court-martial, he learns he was set up… SPECIAL FEATURES: Image Gallery / Original Pressbook PDF SPECIAL FEATURES: Original Theatrical Trailer Image Gallery / Original Pressbook PDF Original Theatrical Trailer 1963 / 1.66:1 / Black and White / 91 mins / Mono / English 1957 / 1.33:1 / Black and White/ 94 mins / Mono / English A global byword for cinematic quality of a Making a spectacular change from teen pop sensation quintessentially British nature, Ealing Studios made to serious actress, Logie-Award-winning Australian singer more than 150 films over a three decade period. Patsy Ann Noble is the scene-stealing, bikini-clad femme A cherished and significant part of British film fatale in this stylish, cleverly plotted murder mystery. history, only selected films from both the Ealing and Giving Noble one of her earliest film roles and also Associated Talking Pictures strands have previously starring Mark Burns, Wanda Ventham and Shaun Curry, been made available on home video format - Death Is a Woman is presented here in a brand-new with some remaining unseen since their original digital transfer in its original theatrical aspect ratio. theatrical release. An undercover agent is sent to investigate narcotics The Ealing Rarities Collection redresses this smuggling on a sun-drenched Mediterranean island. imbalance - featuring new transfers from the best However, when both of his principal subjects die in available elements, in their correct aspect ratio, mysterious circumstances, he soon finds that he is also this multi-volume collection showcases a range of involved in a murder investigation... scarce films from both Basil Dean’s and Michael Balcon’s tenure as studio head, making them SPECIAL FEATURES: available once more to the general public. Original Theatrical Trailer / Alternate Scene [Mute] Image Gallery / Promotional Material PDFs 1966 / 1.66:1 / Colour / 80 mins / Mono / English THREE MEN IN A BOAT An adaptation of Jerome K. Jerome’s classic story charting the comic misadventures of three friends – and a dog – as they take a boating holiday on the Thames. 1933 / 1.33:1 / Black and White / 54 mins / Mono / English LOYALTIES The sole Jewish guest at a Society gathering is robbed; when he exposes a fellow guest as the thief, he finds the veneer of racial tolerance to be disturbingly thin… 1933 / 1.33:1 / Black and White / 68 mins / Mono / English THE BAILIFFS In one of their earliest films, Crazy Gang stars Flanagan and Allen star as a couple of incompetent broker’s men who take possession of the wrong house… 1932 / 1.33:1 / Black and White / 25 mins / Mono / English LABURNUM GROVE A respectable suburban householder shocks unwelcome visiting relatives by telling them that he is now a forger working for a criminal gang. 1936 / 1.33:1 / Black and White / 71 mins / Mono / English This Brit-noir crime thriller features Googie Withers, James Hayter, Bernard Lee and Broadway veteran Jack La Rue, who would become familiar to cinemagoers as This enchanting Ruritanian romance marked the one of Hollywood’s most dependable screen gangsters. second pairing of Errol Flynn and British film heroine Released in Britain in 1939, Murder in Soho is Anna Neagle under the direction of Herbert Wilcox. presented here in a brand-new transfer from the original Blending sumptuous pageantry and richly varied film elements in its as-exhibited theatrical aspect ratio. music and choreography, King’s Rhapsody echoed the abdication crises that enthralled pre-War Europe, One of the brightest spots in Soho was the Cotton Club, with Flynn starring as the prince who falls for a run by American Steve Marco. So when double-crossing commoner. The film is presented here in a brand-new Joe Lane threatened to tell the police of Steve’s past, Joe transfer from the original elements, in its as-exhibited had to be murdered... theatrical aspect ratio. SPECIAL FEATURES: SPECIAL FEATURES: Image gallery / Original Script PDF Image gallery / Promotional Material PDF 1939 / 1.33:1 / Black and White / 69 mins / 1955 / 2.35:1 / Colour / 89 mins / Mono / English Mono / English Till Death Us Do Part’s Warren Mitchell heads an outstanding cast as an ambitious but none-too-bright Pairing Margaret Leighton and Ralph Richardson, salesman in this sharply scripted comedy of workplace The Passionate Stranger is a gentle satire on the deviousness and one-upmanship. Based on BAFTA conventions of the romantic novel and the perils of nominee David Turner’s 1962 stage hit Semi-Detached, confusing reality with fiction. Directed in inventive All the Way Up is presented here in a brand-new fashion by Oscar winner Muriel Box, this hugely transfer from the original film elements in its as- engaging comedy is made available here in a exhibited theatrical aspect ratio. brand-new transfer from the original elements in its as-exhibited theatrical aspect ratio. Fred Midway will do anything to climb to the top of the corporate tree, and when his aspirations suffer various Judith Wynter is a happily married novelist whose setbacks, Fred even manages to turn a desperate romantic works are eagerly devoured by scores of situation to his advantage… only to be blackmailed by female readers. When Carlo, a handsome young his son – a real chip off the old block! Italian chauffeur, arrives to work for Judith he causes quite a flutter... SPECIAL FEATURES: Original Theatrical Trailer / Image Gallery SPECIAL FEATURES: Original Pressbook PDF Theatrical trailer / Image gallery 1970 / 1.66:1 / Colour / 94 mins / Mono / English 1956 / 1.33:1 / Colour + Black and White / 93 mins / Mono / English This 1967 comedy stars the inimitable Charlie Drake as a budding playwright whose magnum opus seems a cast-iron guarantee of box-office disaster. Featuring support from an array of British film and television stars – including George Baker, John Le Mesurier, Ronald In an early lead role, Robert Newton stars in a Radd and Wanda Ventham – Mister Ten Per Cent is compelling murder melodrama charting a struggling presented here in a brand-new transfer from the original novelist’s desperate bid to start life anew – in a dead film elements in its as-exhibited theatrical aspect ratio. man’s clothes… Dead Men Are Dangerous captures the richly talented British star at a point of transition, Percy Pointer may work on a building site, but his as West End acclaim gave way to burgeoning film passion is the theatre, and all his spare time is devoted success; Newton’s pre-War achievements would be to the play he is writing. It means everything to him consolidated with iconic portrayals of Bill Sikes and When Percy’s play is finished, it arrives on the desk Long John Silver in the 1940s and ’50s. This rare, of Jocelyn Macauley, London’s leading impresario, London-set thriller is presented here in a brand-new at a time when he is particularly anxious to stage a digital transfer from the original film elements. resounding flop and so incur an impressive tax loss… SPECIAL FEATURES: SPECIAL FEATURES: Image Gallery / Alternate Titles Image gallery / Original theatrical trailer Original Pressbook PDF 1939 / 1.33:1 / Black and White / 66 mins / Mono / English 1967/ 2.35:1 / Colour / 80 mins / Mono / English Phenomenally successful entertainers Bud Flanagan and Chesney Allen team up with larger-than-life Imposing stage actor and playwright Matheson vaudevillian Teddy Brown and future horror queen Hazel Lang was one of the twentieth century’s greatest Court for this 1944 comedy feature – presented here Shakespearean players, and became Britain’s in a brand-new transfer from the original film elements. foremost screen actor during the 1920s; in Drake Directed by John Baxter, Dreaming sees the duo of England, one of his final films, he takes the title seemingly proving that no good deed goes unpunished… role in Arthur Woods’ portrayal of the life and times of the flamboyant piratical adventurer who founded When a pretty Wren faints in a crowded train, Private Britain’s sea fortunes. Bud Flanagan and Captain Ches Allen are quick to render first aid. But over Bud’s head, a heavy kitbag One of very few surviving films directed in the wobbles; it falls and scores a direct hit, knocking 1930s by the prodigiously talented Woods, it is him unconscious.
Load more

Recommended publications
  • Kirk Douglas in Cat and Mouse! the Flame of Love
    They just pushed him too far! Kirk Douglas in Cat and Mouse! Also on release this month: The Flame of Love Seven Nights in Japan Charley Moon The Extra Day Ballad in Blue Don’t Bother to Knock Spring in Park Lane Wonderful Things Memoirs of a Survivor Those Were the Days Up Jumped a Swagman Home at Seven Nothing But the Best Julie Christie stars in an award-winning adaptation of Doris Lessing’s famous dystopian novel. This complex, haunting science-fiction feature is presented in a Set in the exotic surroundings of Russia before the First brand-new transfer from the original film elements in World War, The Flame of Love tells the tragic story of the its as-exhibited theatrical aspect ratio. doomed love between a young Chinese dancing girl and the adjutant to a Russian Grand Duke. One of five British films Set in Britain at an unspecified point in the near- featuring Chinese-American actress Anna May Wong, The future, Memoirs of a Survivor tells the story of ‘D’, a Flame of Love (also known as Hai-Tang) was the star’s first housewife trying to carry on after a cataclysmic war ‘talkie’, made during her stay in London in the early 1930s, that has left society in a state of collapse. Rubbish is when Hollywood’s proscription of love scenes between piled high in the streets among near-derelict buildings Asian and Caucasian actors deprived Wong of leading roles. covered with graffiti; the electricity supply is variable, and water is now collected from a van.
    [Show full text]
  • 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.
    [Show full text]
  • HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 She Went on to Become a Nationally Recognised Figure in the British Cinema of the 1950S and 60S
    Hattie Jacaues Born 127 High St 1922 Chapter Twelve HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 she went on to become a nationally recognised figure in the British cinema of the 1950s and 60s. Her father, Robin Jacques was in the army and stationed at Shorncliffe Camp at the time of her birth. The Register of Electors shows the Jacques family residing at a house called Channel View in Sunnyside Road. (The register shows the name spelled as JAQUES, without the C. Whether Hattie changed the spelling or whether it was an error on the part of those who printed the register I don’t know) Hattie, as she was known, made her entrance into the world in the pleasant seaside village of Sandgate, mid way between Folkestone to the east and Hythe to the west. Initially Hattie trained as a hairdresser but as with many people of her generation the war caused her life to take a different course. Mandatory work saw Hattie first undertaking nursing duties and then working in North London as a welder Even in her twenties she was of a generous size and maybe as defence she honed her sense of humour after finding she had a talent for making people laugh. She first became involved in show business through her brother who had a job as the lift operator at the premises of the Little Theatre located then on the top floor of 43 Kings Street in Covent Garden. At end of the war the Little Theatre found itself in new premises under the railway arches below Charing Cross Station.
    [Show full text]
  • Nine Night at the Trafalgar Studios
    7 September 2018 FULL CASTING ANNOUNCED FOR THE NATIONAL THEATRE’S PRODUCTION OF NINE NIGHT AT THE TRAFALGAR STUDIOS NINE NIGHT by Natasha Gordon Trafalgar Studios 1 December 2018 – 9 February 2019, Press night 6 December The National Theatre have today announced the full cast for Nine Night, Natasha Gordon’s critically acclaimed play which will transfer from the National Theatre to the Trafalgar Studios on 1 December 2018 (press night 6 December) in a co-production with Trafalgar Theatre Productions. Natasha Gordon will take the role of Lorraine in her debut play, for which she has recently been nominated for the Best Writer Award in The Stage newspaper’s ‘Debut Awards’. She is joined by Oliver Alvin-Wilson (Robert), Michelle Greenidge (Trudy), also nominated in the Stage Awards for Best West End Debut, Hattie Ladbury (Sophie), Rebekah Murrell (Anita) and Cecilia Noble (Aunt Maggie) who return to their celebrated NT roles, and Karl Collins (Uncle Vince) who completes the West End cast. Directed by Roy Alexander Weise (The Mountaintop), Nine Night is a touching and exuberantly funny exploration of the rituals of family. Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine rum-fuelled nights of music, food, storytelling and laughter – and an endless parade of mourners. The production is designed by Rajha Shakiry, with lighting design by Paule Constable, sound design by George Dennis, movement direction by Shelley Maxwell, company voice work and dialect coaching by Hazel Holder, and the Resident Director is Jade Lewis.
    [Show full text]
  • Winter 2005 Who Wrote Fellowship’S 3Rd the Spanish Annual Meeting Tragedy? Held in Baltimore by C
    Vol.4:no.2 "Let me not to the marriage of true minds admit impediments..." Winter 2005 Who wrote Fellowship’s 3rd The Spanish annual meeting Tragedy? held in Baltimore By C. V. Berney he Spanish Tragedy was one of the ixty members gathered most popular and important plays of in Baltimore, Mary- Tthe Elizabethan era. If you ask an Sland, in early October academic who wrote it, the reply will be for the third annual confer- “Thomas Kyd, of course,” and it will be ence of the Shakespeare Fel- given in a voice ringing with authority and lowship. The program was certitude. varied, with over 20 speak- But it may not be quite that simple. In ers, a debate, and several the- their introduction to the play, Brooke and atrical performances, includ- Paradise note that ing productions of Julius Caesar by the Baltimore The early editions of The Spanish Tragedy are all anonymous, and none of Shakespeare Festival, “De- the theatrical notices of the play mentions throning a Deity” by Michael Kyd. We owe our knowledge of his Dunn in the persona of authorship to Thomas Heywood, who Among the activities at the 3rd Annual Shakespeare Fellowship Charles Dickens, and Shake- Conference in Baltimore was the awards banquet, where special quotes three lines (IV.i.86-88) in his Speare, a show about Oxford Apology for Actors, 1612, with the words: recognition was bestowed on Dr. Gordon Cyr (left) for Lifetime “Therefore, M[aster] Kid, in his Spanish Achievement and Tom Regnier (right) for Scholarship. Outgoing as the bard, by Kinetic En- Tragedy, upon occasion thus presenting Fellowship President Alex McNeil (center) presented the awards.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context.
    [Show full text]
  • The North of England in British Wartime Film, 1941 to 1946. Alan
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CLoK The North of England in British Wartime Film, 1941 to 1946. Alan Hughes, University of Central Lancashire The North of England is a place-myth as much as a material reality. Conceptually it exists as the location where the economic, political, sociological, as well as climatological and geomorphological, phenomena particular to the region are reified into a set of socio-cultural qualities that serve to define it as different to conceptualisations of England and ‘Englishness’. Whilst the abstract nature of such a construction means that the geographical boundaries of the North are implicitly ill-defined, for ease of reference, and to maintain objectivity in defining individual texts as Northern films, this paper will adhere to the notion of a ‘seven county North’ (i.e. the pre-1974 counties of Cumberland, Westmorland, Northumberland, County Durham, Lancashire, Yorkshire, and Cheshire) that is increasingly being used as the geographical template for the North of England within social and cultural history.1 The British film industry in 1941 As 1940 drew to a close in Britain any memories of the phoney war of the spring of that year were likely to seem but distant recollections of a bygone age long dispersed by the brutal realities of the conflict. Outside of the immediate theatres of conflict the domestic industries that had catered for the demands of an increasingly affluent and consuming population were orientated towards the needs of a war economy as plant, machinery, and labour shifted into war production.
    [Show full text]
  • Lyrics and Music
    Soundtrack for a New Jerusalem Lyrics and Music By Lily Meadow Foster and Toliver Myers EDITED by Peter Daniel The 70th Anniversary of the National Health Service 1 Jerusalem 1916 England does not have a national anthem, however unofficially the beautiful Jerusalem hymn is seen as such by many English people. Jerusalem was originally written as a preface poem by William Blake to his work on Milton written in 1804, the lyrics were added to music written by Hubert Parry in 1916 during the gloom of WWI when an uplifting new English hymn was well received and needed. Blake was in- spired by the mythical story Jesus, accompanied by Joseph of Arimathea, once came to England. This developed its major theme that of creating a heaven on earth in En- galnd, a fairer more equal country that would abolish the exploitation of working people that was seen in the ‘dark Satin mills’ of the Industrial revolution. The song was gifted by Hubert Parry to the Suffragette movement who were inspired by this vi- sion of equality. 2 Jerusalem William Blake lyrics Hubert Parry Music 1916 And did those feet in ancient time Walk upon England's mountains green? And was the holy Lamb of God On England's pleasant pastures seen? And did the countenance divine Shine forth upon our clouded hills? And was Jerusalem builded here Among those dark Satanic Mills? Bring me my bow of burning gold! Bring me my arrows of desire! Bring me my spear! O clouds, unfold! Bring me my chariot of fire! I will not cease from mental fight Nor shall my sword sleep in my hand Till we have built Jerusalem In England's green and pleasant Land Hubert Parry 1916 Words by William Blake 1804 3 Jerusalem 1916 4 Jerusalem 1916 5 Jerusalem 1916 William Blake imagined a time when Britain would be a fairer more equal society.
    [Show full text]
  • The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
    1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000.
    [Show full text]
  • Resisting Hollywood Dominance in Sixties British Cinema : the NFFC/Rank Joint Financing Initiative
    This is a repository copy of Resisting Hollywood Dominance in Sixties British Cinema : The NFFC/Rank Joint Financing Initiative. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/94238/ Version: Published Version Article: Petrie, Duncan James orcid.org/0000-0001-6265-2416 (2016) Resisting Hollywood Dominance in Sixties British Cinema : The NFFC/Rank Joint Financing Initiative. Historical Journal of Film, Radio and Television. ISSN 1465-3451 https://doi.org/10.1080/01439685.2015.1129708 Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: http://www.tandfonline.com/loi/chjf20 Resisting Hollywood dominance in sixties British cinema: the NFFC/rank joint financing initiative Duncan Petrie To cite this article: Duncan Petrie (2016): Resisting Hollywood dominance in sixties British cinema: the NFFC/rank joint financing initiative, Historical Journal of Film, Radio and Television, DOI: 10.1080/01439685.2015.1129708 To link to this article: http://dx.doi.org/10.1080/01439685.2015.1129708 © 2016 The Author(s).
    [Show full text]
  • MGM 70 YEARS: REDISCOVERIES and CLASSICS June 24 - September 30, 1994
    The Museum of Modern Art For Immediate Release May 1994 MGM 70 YEARS: REDISCOVERIES AND CLASSICS June 24 - September 30, 1994 A retrospective celebrating the seventieth anniversary of Metro-Goldwyn- Mayer, the legendary Hollywood studio that defined screen glamour and elegance for the world, opens at The Museum of Modern Art on June 24, 1994. MGM 70 YEARS: REDISCOVERIES AND CLASSICS comprises 112 feature films produced by MGM from the 1920s to the present, including musicals, thrillers, comedies, and melodramas. On view through September 30, the exhibition highlights a number of classics, as well as lesser-known films by directors who deserve wider recognition. MGM's films are distinguished by a high artistic level, with a consistent polish and technical virtuosity unseen anywhere, and by a roster of the most famous stars in the world -- Joan Crawford, Clark Gable, Judy Garland, Greta Garbo, and Spencer Tracy. MGM also had under contract some of Hollywood's most talented directors, including Clarence Brown, George Cukor, Vincente Minnelli, and King Vidor, as well as outstanding cinematographers, production designers, costume designers, and editors. Exhibition highlights include Erich von Stroheim's Greed (1925), Victor Fleming's Gone Hith the Hind and The Wizard of Oz (both 1939), Stanley Kubrick's 2001: A Space Odyssey (1968), and Ridley Scott's Thelma & Louise (1991). Less familiar titles are Monta Bell's Pretty Ladies and Lights of Old Broadway (both 1925), Rex Ingram's The Garden of Allah (1927) and The Prisoner - more - 11 West 53 Street, New York, N.Y. 10019-5498 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART 2 of Zenda (1929), Fred Zinnemann's Eyes in the Night (1942) and Act of Violence (1949), and Anthony Mann's Border Incident (1949) and The Naked Spur (1953).
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]