Badham (Scout Finch), Philip Alford (Jem Finch), Frahk
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Robert Mulligan
CINÉMA RETROUVÉ | Robert Mulligan Robert Mulligan Des ombres à la lumière Jean-Pierre Coursodon Un des cinéastes les plus sous-estimés de sa génération, Robert En 1956, un producteur débutant, Alan Pakula, acquiert les Mulligan a souvent été jugé avec une réticence pouvant aller droits de l’autobiographie du base-balleur Jim Piersall, choisit jusqu’au souverain mépris d’un Jacques Rivette qui le traita, comme réalisateur Mulligan, homme de télévision dont ce sera en 1963, de « laborieux director »1. Une quarantaine d’années le premier lm, et comme vedette le jeune Anthony Perkins, plus tard, Le Monde, dans sa nécrologie, ressortait l’étiquette dont ce troisième rôle est le premier en vedette pour le grand passe-partout « honnête artisan hollywoodien ». Aux États-Unis écran. Le résultat est l’excellent Fear Strikes Out (Prisonnier de le lm de Mulligan le plus fameux est Du silence et des ombres la peur, titre français qui dit le contraire de l’original, « Victoire (To Kill a Mockingbird ), mais il n’a pas tiré le cinéaste d’une sur la peur » serait plus exact), où Perkins est remarquable semi-obscurité dont il n’est sorti que sporadiquement et de dans le rôle du jeune sportif que les e orts obsessionnels d’un manière éphémère. père abusif pour faire de lui une vedette nissent par mener à « Honnête » et « laborieux » artisan, Mulligan a pourtant la dépression nerveuse. On en oublie la réalisation appliquée construit une œuvre cohérente et personnelle, dont il est facile (mais non dé ciente) : Mulligan trouve ici les personnages et d’énumérer les thèmes, tropes et préférences : enfants ou ado- situations qu’il reprendra dans la plupart de ses lms majeurs. -
The Baseball Film in Postwar America ALSO by RON BRILEY and from MCFARLAND
The Baseball Film in Postwar America ALSO BY RON BRILEY AND FROM MCFARLAND The Politics of Baseball: Essays on the Pastime and Power at Home and Abroad (2010) Class at Bat, Gender on Deck and Race in the Hole: A Line-up of Essays on Twentieth Century Culture and America’s Game (2003) The Baseball Film in Postwar America A Critical Study, 1948–1962 RON BRILEY McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London All photographs provided by Photofest. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Briley, Ron, 1949– The baseball film in postwar America : a critical study, 1948– 1962 / Ron Briley. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6123-3 softcover : 50# alkaline paper 1. Baseball films—United States—History and criticism. I. Title. PN1995.9.B28B75 2011 791.43'6579—dc22 2011004853 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2011 Ron Briley. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: center Jackie Robinson in The Jackie Robinson Story, 1950 (Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 Introduction: The Post-World War II Consensus and the Baseball Film Genre 9 1. The Babe Ruth Story (1948) and the Myth of American Innocence 17 2. Taming Rosie the Riveter: Take Me Out to the Ball Game (1949) 33 3. -
Boxoffice Barometer (April 15, 1963)
as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
P. F. Não Matem a Cotovia – 1962
P. f. não matem a cotovia – 1962 Título original: To kill a mockingbird Realizador: Robert Mulligan Argumento: Adaptação do livro de Harper Lee Actores principais: Gregory Peck, Mary Badham, Phillip Alford, John Megna, Frank Overton Música: Elmer Bernstein. Produtor: Alan J. Pakula Resumo O filme tem a particularidade de ser uma adaptação do livro homónimo e autobiográfico de Harper Lee – premiada com o Prémio Pulitzer – e que se tornou um clássico da literatura inglesa - não apenas americana. É, além disso, um livro de leitura obrigatória em muitas escolas americanas e inglesas e de acordo com a publicidade, tornou-se no livro mais vendido nos EUA. A acção decorre no Alabama dos anos trinta e tem a particularidade de se desenrolar à volta do respeitado advogado Atticus Finch (Gregory Peck – o mesmo advogado do “Caso Paradine”) e da sua filha “Scout” de seis anos. Todavia, o livro (mais que o filme) vai muito para além do caso judicial e apresenta um retrato nostálgico mas vivo de uma amizade improvável e de toda uma comunidade dividida e afectada por tensões raciais. A crítica For the most part, Mulligan's style is subdued. He avoids grandstanding and allows the emotional power of the story to work without overt manipulation. The strongest piece of evidence of this arises in the aftermath of the court scene. Atticus has lost, but has fought valiantly, and, as he gathers his paper and leaves the building, the black observers rise and silently salute him. There is no clapping and the music score does not intrusively demand that we understand that this is an important moment in what it says about justice and race relations. -
ROBERT MULLIGAN Du Silence Et Des Ombres
ROBERT MULLIGAN Du silence et des ombres DOSSIER 208 COLLÈGE AU CINÉMA L’AVANT FILM L’affiche 1 La nuit éclairée Réalisateur & Genèse 2 Robert Mulligan ou la redécouverte d’un cinéaste discret SYNOPSIS LE FILM Maycomb, Alabama, en 1932. Avocat de profes- sion, Atticus Finch élève seul son fils Jem, dix ans, et sa fille Scout, six ans. Sous la chaleur du soleil Analyse du scénario 5 estival, les enfants rencontrent Dill, un jeune gar- De l’enfance à l’âge adulte çon en vacances qui devient leur compagnon de jeu. L’occupation favorite du trio consiste à s’ap- Découpage séquentiel 7 procher de la maison voisine pour y guetter l’ap- Personnages 8 parition de Boo Radley, le « croque-mitaine » de Des oiseaux et des hommes Maycomb selon une légende urbaine. Les enfants n’ont que faire des avertissements de leurs aînés. Mise en scène & Signification 10 Une nuit, ils s’aventurent dans le jardin des Radley Un style entre classicisme et modernité mais une ombre portée sur la véranda vient à bout de leur témérité. Des événements inexplicables Analyse d’une séquence 14 attirent bientôt leur attention : la salopette de Jem Extérieur nuit accrochée au grillage du potager et abandonnée pendant l’escapade nocturne est retrouvée soi- Analyse d’une séquence 16 gneusement pliée ; un arbre recèle dans son tronc Extérieur jour des objets précieux offerts à la vue des enfants. La fin de l’été sonne la rentrée des classes pour Jem et Scout. Dans les rues de la ville, le procès de AUTOUR DU FILM Tom Robinson accusé d’avoir violé Mayella Ewell est sur toutes les lèvres. -
Analyse) to Kill a Mockingbird Sainte-Marie Éleuthère
Document generated on 09/26/2021 9:20 p.m. Séquences La revue de cinéma Du Silence et des ombres (analyse) To Kill a Mockingbird Sainte-Marie Éleuthère Cinéma américain Number 37, May 1964 URI: https://id.erudit.org/iderudit/51865ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Éleuthère, S.-M. (1964). Du Silence et des ombres (analyse). Séquences, (37), 41–46. Tous droits réservés © La revue Séquences Inc., 1964 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ G*- DU SILENCE ET DES OMBRES (TO KILL A MOCKINGBIRD) JI. 2),ocumenlaiio ta tic n 1. Générique Megna (Dill Harris), Brock Peters (Tom Robinson), Frank Overton (Le shérif), Américain 1962 — Real. : Robert Mulli Rosemary Murphy (Miss Maudie), Robert gan — Seen. : Horton Foote d'après le Duvall (Boo Radley), Paul Fix (le iuqe roman de Harper Lee — Phot. : Russell Taylor), Collin Wilcox (Mayella Ewell), Harlan — Mus. : Elmer Bernstein — Int. : James Anderson (Bob Ewell), Estelle Gregory Peck (Atticus Finch), Mary Bad Evans (Calpurnia), Ruth White (Mme ham (Scout), Philip Alford (Jem), John Dubose) — Dish : Sovereign Film». -
Marzo Enlace Externo, Se Abre En Ventana Nueva
F I L M O T E C A E S P A Ñ O L A Sede: C/ Magdalena nº 10 28012 Madrid Cine Doré Telf.: 91 4672600 c/ Santa Isabel, 3 Fax: 91 4672611 28012 Madrid [email protected] Telf.: 91 3691125 http://www.mcu.es/cine/MC/FE/index.html (taquilla) 91 369 2118 NIPO (publicación electrónica): 554-10-002-X (gerencia) Fax: 91 3691250 MINISTERIO DE CULTURA Precio: Normal: 2,50€ por sesión y sala 20,00€ abono de 10 PROGRAMACIÓN sesiones. Estudiante: 2,00€ por sesión y sala marzo 15,00€ abono de 10 sesiones. 2010 Horario de taquilla: 16.15 h. hasta 15 minutos después del comienzo de la última sesión. Venta anticipada: 21.00 h. hasta cierre de la taquilla para las sesiones del día siguiente hasta un tercio del aforo. Horario de cafetería: 16.45 - 00.00 h. Tel.: 91 369 49 23 Horario de librería: 17.00 - 22.00 h. Tel.: 91 369 46 73 Lunes cerrado (*) Subtitulaje electrónico MARZO 2010 Robert Mulligan (1925-2008) Ellas crean: Agnès Jaoui Valeria Sarmiento Atom Egoyan (I) Casa Asia: Semana de cine de Hong Kong (y II) Recuerdo de… (y III) Cine para todos La comedia cinematográfica española (V) Buzón de sugerencias VII Concurso de Cortos contra el Racismo Muestra de cortometrajes de la PNR Las sesiones anunciadas pueden sufrir cambios debido a la diversidad de la procedencia de las películas programadas. Las co pias que se e xhiben son l as de m ejor cal idad disponibles. Las d uraciones q ue figuran e n el programa son aproximadas. -
THE PAKULA PARALLAX Author(S): Richard T
THE PAKULA PARALLAX Author(s): Richard T. Jameson Source: Film Comment, Vol. 12, No. 5 (SEPTEMBER-OCTOBER 1976), pp. 8-12 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43753093 Accessed: 04-10-2016 00:15 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 95.183.180.42 on Tue, 04 Oct 2016 00:15:47 UTC All use subject to http://about.jstor.org/terms THE PflhLILfl PflñflLLflX by Richard T. Jameson .i the parallax view: Parallax stooge fingered for Carroll assassination atop the Space Needle. an edge and validity that suggest Pakula began at roughly the same time as his than Alan J. Pakula at work in the has taken the player back to the origin of own: Martin Scorsese, Brian De Palma, There American American than is Alan cinema no more today J. - cinema:a de- Pakula classical at today work filmmaker - :a in de- the the shtick, and beyond. Peter Bogdanovich, John Milius, Steven scription that applies at several levels. -
THE OTHER / 1972 (O Outro)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA DUPLOS E GÉMEOS 13 de outubro de 2020 THE OTHER / 1972 (O Outro) um filme de Robert Mulligan Realização: Robert Mulligan / Argumento: Thomas Tryon, baseado no romance homónimo de sua autoria / Fotografia: Robert L. Surtees / Direcção Artística: Ruby Levitt / Música: Jerry Goldsmith / Montagem: Folmer Blangstad e O. Nicholas Brown / Interpretação: Uta Hagen (Ada, a avó), Chris Udvarnoky (Niles), Martin Udvarnoky (Holland), Diana Muldaur (Alexandra, a mãe), Norma Connolly (Tia Vee), Victor French (Angelini), Loretta Leversee (Winnie), Lou Frizzell (Tio George), Portie Nelson (Mrs. Rowe), Jennie Sullivan (Torrie), etc. Rodução: Robert Mulligan para Rex-Benchmark / Distribuição: 20th Century Fox / Cópia: 35mm, DeLuxe cor, legendada em espanhol e eletronicamente em português, 99 minutos / Estreia Mundial: Hollywood, 17 de Maio de 1972 / Estreia em Portugal: Cinema Nimas, a 15 de Fevereiro de 1977. ____________________________ De boas intenções... Pode dizer-se isso sobre The Other (mais precisamente sobre a história de The Other), sobre o personagem da Avó russa, sobre o filme em geral. Por agora, não estava a pensar em nenhum desses três temas, mas no próprio cineasta, Robert Mulligan (n. 1930). Sendo um dos muitos realizadores que, nos anos 50, chegou a Hollywood, vindo da televisão (onde se celebrizara por reputadíssimas adaptações de David Copperfield, The Bridge of San Luis Rey, The Moon and Sixpence, etc), Mulligan nunca se livrou de uma reputação soft: alguns óptimos filmes, algumas brilhantes adaptações, uma magistral capacidade para dirigir superlativamente superlativos actores do Método, mas uma atenção distraída, tanto por parte da crítica americana como europeia. Nunca disseram muito mal dele. -
Irma La Douce Director Billy Wilder, Starring Jack Lemmon, Shirley Mclaine 1963 Hollywood
SPECIAL PHOTOGRAPHER LEO FUCHS FROM THE GOLDEN AGE OF HOLLYWOOD LEO FUCHS: SPECIAL PHOTOGRAPHER FROM THE GOLDEN AGE OF HOLLYWOOD TEXT AND PHOTOGRAPHS BY LEO FUCHS ESSAY BY BRUCE WEBER FOREWORD BY ALEXANDRE FUCHS PUBLISHED BY powerHouse Books This PDF of LEO FUCHS: Special Photographer is only a preview of the entire book. To see the complete version, please contact Joel Caceres, Publicity Associate, at [email protected] 118 119 THE GENERAL LAUGHTER In the spring of 1957 I moved from Rome to Paris at the suggestion of Jerry Juroe, publicity direc- WRURQDÀOPVKRRWLQJDW%RXORJQH6WXGLRVVWDUULQJ%RE+RSH)HUQDQGHODQG$QLWD(NEHUJFDOOHG ”Paris Holiday.” It was at the canteen of this famed studio that Jerry introduced me to Miss Ekberg’s stand-in, a young French actress named Sylviane Contis. Sylviane and I went to a movie and dinner in Montparnasse. We saw a Vittorio de Sica masterpiece called Umberto D. $VVRRQDV,KDGÀQLVKHGZLWK´3DULV+ROLGD\µ,ZDVRIIHUHGDSURORQJHGSHULRGRIZRUNRQ´7KH <RXQJ/LRQVµDPDMRU7ZHQWLHWK&HQWXU\)R[0RYLH&RQVLGHULQJWKDW0DUORQ%UDQGRDQG0RQW\ Clift had no scenes together but one, the whole shoot was scheduled to alternate between the two stars, RQHGD\0DUORQWKHQH[W0RQW\DOPRVWGD\IRUGD\:KLOHLQ%HUOLQWKHSUHVVZDVYHU\DQ[LRXVWRLQ- terview Marlon. They set up a press conference in one of the big rooms at the Kempinsky Hotel. Dur- ing the conference one of the journalists asked Marlon why he had dyed his hair blond, in fact Marlon wore a blonde dyed crew cut in his portrayal of a German soldier. In answer to the question Marlon looked around and started to say ”Well, you see, I am playing a German soldier…” he got no further EHFDXVHDVKHORRNHGDURXQGKHVDZWKDWQRWRQHRIWKHIRUW\RUÀIW\*HUPDQMRXUQDOLVWVLQWKHURRP had blond hair. -
MR.PAKULA GOES to WASHINGTON Author(S): Alan J
MR.PAKULA GOES TO WASHINGTON Author(s): Alan J. Pakula and Richard Thompson Source: Film Comment, Vol. 12, No. 5 (SEPTEMBER-OCTOBER 1976), pp. 12-19 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43753094 Accessed: 04-10-2016 00:17 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 95.183.180.42 on Tue, 04 Oct 2016 00:17:56 UTC All use subject to http://about.jstor.org/terms rectors in the American cinema might be described as specializing in outcasts and oddballs. Nevertheless, it is necessary to note that all five of Alan Pakula's fea- tures (including his two pathological comedies, THE STERILE CUCKOO and LOVE AND PAIN AND THE WHOLE DAMN THING) xnxaa tři» have focused on characters whose per- sonalities, professions, or both have taken them far from what we laughingly call normalcy - as his style, for all the di- rector's ability to achieve a stunning be- havioral conviction in the depiction of the future-shock world we live in, re- Alan J.