Edgar Allan Poe Adaptation 'The Tell-Tale Heart'
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JEANNE MOREAU: NOUVELLE VAGUE and BEYOND February 25 - March 18, 1994
The Museum of Modern Art For Immediate Release February 1994 JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND February 25 - March 18, 1994 A film retrospective of the legendary French actress Jeanne Moreau, spanning her remarkable forty-five year career, opens at The Museum of Modern Art on February 25, 1994. JEANNE MOREAU: NOUVELLE VAGUE AND BEYOND traces the actress's steady rise from the French cinema of the 1950s and international renown as muse and icon of the New Wave movement to the present. On view through March 18, the exhibition shows Moreau to be one of the few performing artists who both epitomize and transcend their eras by the originality of their work. The retrospective comprises thirty films, including three that Moreau directed. Two films in the series are United States premieres: The Old Woman Mho Wades in the Sea (1991, Laurent Heynemann), and her most recent film, A Foreign Field (1993, Charles Sturridge), in which Moreau stars with Lauren Bacall and Alec Guinness. Other highlights include The Queen Margot (1953, Jean Dreville), which has not been shown in the United States since its original release; the uncut version of Eva (1962, Joseph Losey); the rarely seen Mata Hari, Agent H 21 (1964, Jean-Louis Richard), and Joanna Francesa (1973, Carlos Diegues). Alternately playful, seductive, or somber, Moreau brought something truly modern to the screen -- a compelling but ultimately elusive persona. After perfecting her craft as a principal member of the Comedie Frangaise and the Theatre National Populaire, she appeared in such films as Louis Malle's Elevator to the Gallows (1957) and The Lovers (1958), the latter of which she created a scandal with her portrayal of an adultress. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Clinton Greyn (1933-2019)
CLINTON GREYN (1933-2019) The great legacy of CLINTON GREYN (1933-2019) is as one of the 1960s' British adventure series' unsung heroes. His Captain Robert Virgin in ATV's Virgin of the Secret Service (1968) stands as one of the classic English gentleman swashbucklers of the decade, alongside Gerald Harper's Adam Adamant and Patrick Macnee's John Steed in The Avengers. Created by Ted Willis, Virgin of the Secret Service (thankfully available on DVD since 2013) was an entertaining, tongue-in-cheek, Boys' Own-style saga of derring-do and stiff upper-lip, in which Captain Virgin, aided by the glamorous Mrs. Cortez (Veronica Strong) and his loyal batman Doublett (John Cater) defended far-flung corners of the British Empire from its foes, most frequently the scheming Teutonic villain Karl Von Brauner (Alexander Doré). Imperial in theme, sardonic in tone, the jury's still out on whether Virgin of the Secret Service was short-lived because by 1968 it was too old-fashioned or, instead, because it was ahead of its time. But the fact that it was filmed in grainy black-and-white wouldn't have helped. Clinton Greyn also guest-starred in other adventure series of the era, such as The Champions and Department S, and he lent distinguished support to several prestigious films of the 1960s: Otto Preminger's Exodus (1960) starring Paul Newman and Eva Marie Saint; Ralph Thomas's The High Bright Sun (1964), with Dirk Bogarde, George Chakiris and Susan Strasberg; Peter Yates's Robbery (1967), starring Stanley Baker; the Shirley MacLaine vehicle Woman Times Seven (1967), directed by Vittorio De Sica; and Herbert Ross's good-looking but ill-advised musical adaptation of Goodbye, Mr. -
Richard Burton
Richard Burton For other people named Richard Burton, see Richard Burton (disambiguation). Richard Burton, CBE (/ˈbɜrtən/; 10 November 1925 – 5 August 1984) was a Welsh stage and cinema actor[1] noted for his mellifluous baritone voice and his great act- ing talent.[2][3] Establishing himself as a formidable Shakespearean ac- tor in the 1950s, with a memorable performance of Hamlet in 1964, Burton was called “the natural suc- cessor to Olivier" by critic and dramaturg Kenneth Ty- nan. An alcoholic,[3] Burton’s failure to live up to those expectations[4] disappointed critics and colleagues and fu- [3][5] eled his legend as a great thespian wastrel. Burton was born in Pontrhydyfen, where his father and some of Burton was nominated seven times for an Academy his brothers were coal miners Award without ever winning. He was a recipient of BAFTA, Golden Globe and Tony Awards for Best Ac- ing with Cecilia, Burton attended nearby Eastern Primary tor. In the mid-1960s Burton ascended into the ranks of School on Incline Row.[13] Burton said later that his sister the top box office stars,[6] and by the late 1960s was one became “more mother to me than any mother could have of the highest-paid actors in the world, receiving fees of ever been ... I was immensely proud of her ... she felt all $1 million or more plus a share of the gross receipts.[7] tragedies except her own”. Burton’s father would occa- Burton remains closely associated in the public con- sionally visit the homes of his grown daughters but was sciousness with his second wife, actress Elizabeth Taylor. -
Introduction
1 Introduction Steven Gerrard and Robert Shail In August 2018, Warner Brothers released their $130- million production The Meg . Based on Steve Alten’s bestselling book Meg: A Novel of Deep Terror (1997), and directed by Jon Turteltaub, the fi lm sees the main character – Jonas Taylor, a deep- sea diver working for the American navy – battle a 75- foot long, 20- million- year- old megalodon shark that has been revived from its deep slumber. The fi lm, a co- production between American and Chinese companies with a Jaws - meets-Jurassic Park advertising campaign, starred British fi lm actor Jason Statham. The aim of this edited collection is to introduce, survey and develop various critical analyses of Statham across not only his fi lm work but his work away from cinema and across a var- iety of transmedia. Film stars are often the mainstay of academic and lay dis- cussion about the latest fi lms and cinematic fads. While genres may fl uctuate in fortune, the fi lm star remains arguably the most important of all cinematic commodities. Film stars sell movies. But they don’t only do this. Over the last twenty years, and since Richard Dyer’s work in Stars ( 1998 ), the study of fi lm stars, celeb- rity and stardom has become the centre for much critical argu- ment. According to Dyer ( 1998 : 1– 4), these critical arguments have usually taken on two perspectives: the social/ cultural con- text, and the semiotic. He argues that these two approaches, where stars are seen as a social phenomenon and that the star is important only because of the fi lm(s) that they appear in, have formed the backbone to much that has been written about movie 2 2 Steven Gerrard and Robert Shail stars. -
Using Films to Teach Comparative Law
Working Paper Series Villanova University Charles Widger School of Law Year 2008 Peasants, Tanners, and Psychiatrists: Using Films to Teach Comparative Law Joseph W. Dellapenna Villanova University School of Law, [email protected] This paper is posted at Villanova University Charles Widger School of Law Digital Repository. http://digitalcommons.law.villanova.edu/wps/art115 Peasants, Tanners, and Psychiatrists: Using Films to Teach Comparative Law Joseph W. Dellapenna Table of Contents I. Introduction II. Selecting the Films III. The Films A. The Return of Martin Guerre B. Dingaka C. The Story of Qiu Ju D. A Question of Silence E. The Conviction F. The Red Corner I. INTRODUCTION The last four decades have seen the emergence of the “law and literature” movement. 1 Although numerous stories in the common law world turn on the trial of cases, 2 many studies in the law and literature vein use stories that do not take place in a courtroom, and often do not even involve a lawyer, to illuminate significant features of the law or its 1 See, e.g., KIERAN DOLIN , A CRITICAL INTRODUCTION TO LAW AND LITERATURE (2007). The movement emerged as a major force through the work of James Boyd White, most significantly with JAMES BOYD WHITE , THE LEGAL IMAGINATION : STUDIES IN THE NATURE OF LEGAL THOUGHT AND EXPRESSION (1973). This line of thought about law has evolved in many directions and now has too many permutations to allow summary in a footnote. It has had a major impact on jurisprudence generally through Ronald Dworkin’s building his theories of law around law as a multi-generational narrative. -
Pinewood Studios Freelancer
Anthony Waye – Film credits Pinewood Studios Started in Mail room at Pinewood Studios 5th July 1954 - £38.3 per week Rank Organisation – 3rd assistant on Sink the Bismarc, Singer not the Song, North West Frontier. 1st assistant on Twice round the Daffodils, Dr at Sea, Carry on Jack, Wild and the Willing, Life for Ruth, On the Beat. Made redundant from Pinewood 27th March 1964 Freelancer Kings Story -9 July 1964 – Harry Booth – Oscar nominated I’ve Gotta Horse 26 Aug 64– Ken Hume – Billy Fury, Amanda Barry Be my Guest - 9 Nov 64 – Lance Comfort The Skull - 15 Dec 64– Freddie Francis – Peter Cushing, Jill Bennett. Dr Who & the Daleks - 8 Feb 1965 – Gordon Flemyng- Peter Cushing, Roy Castle. Early Bird - 26 Apr 65 – Bob Asher – Norman Wisdom *The Treasure of St Trinians - 29 Sept 65 The Deadly Bees - 17 Nov 65 – Freddie Francis Daleks Invade Earth – 24 Jan 1966 - Gordon Flemyng – Peter Cushing, Bernie Cribbens. Marat Sade - 22 Apr 1966 – Peter Brooks – Patrick Mcgee, Glenda Jackson The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade *Day of the Champion 26 May 66 Sumuru – Fu Man Chu - 2 Jul 66 – Jeremy Saunders – Christopher Lee, Douglas Wilmer Five Golden Dragons – 13 Jan 1967- J Saunders – Bob Cummings, Rupert Davies, Brian Donleavy, Dan Duryea, George Raft – A Peter Snell film Attack on the Iron Coast - 17 Mar 67 – Paul Wendkoss – Lloyd Bridges, Sue Lloyd Submarine X1 - William Graham – James Caan * Decline & Fall - 26 Oct Where Eagles Dare 8 Dec 67 – Yakima Canutt – Richard Burton, Clint Eastwood, Mary Ure Mosquito Squadron - 6 May 1968 – Boris Sagal – David Mc Callum Hell Boats -25 Jul 68 – Paul Wendkoss – James Franciscus The Wrong Mountain 28 Dec 68 The Last Grenade - 14 Mar1969 – Gordon Flemyng – Stanley Baker, Richard Attenborough, Honor Blackman. -
Johnny Loves Nobody Atrick Mcgoohan Was a Tough Man to Know
The Rank Villainy of PATRICK McGOOHAN Ray Banks Johnny Loves Nobody atrick McGoohan was a tough man to know. Famously guarded and often opaque, his longest interviews often feature a moment of exasperation on the reporter’s part, typically manifested as an admission of failure. Two pages into a lengthy pro- file for Cosmopolitan in 1969, Jeannie Sakol sets Pout the impossibility of her task: “To even begin to understand the complexities of a man like Patrick McGoohan could mean a lifetime study of James Joyce, Irish Catholicism, the history of Ireland from Brian Boru to Brendan Behan, the heroes and scoundrels, and the woven threads of poetry, idealism, mother love and thwarted sexuality.” The real truth is that McGoohan’s chosen career was dictated not by ancestral history but by a bucket of coal. At sixteen, McGoohan was academically averse and painfully shy, the kind of boy who would watch the youth club dance from the street, safely swaddled in his favorite Mackintosh, “one of those universal, mass-produced, putty- coloured garments that make the average Englishman about as distinguishable as a grain of sand in the Sahara.” But when McGoohan was forced into a bit-part in the youth club play, carting a bucket of coal from one side of the stage to the other, he discovered that “being on stage, sheltered by the bright glare of the footlights, was a much better cloak of anonymity than a mere Mackintosh. On stage I found I didn’t mind what I had to do, or who I had to pretend to be. -
Country Escape
Jules_WBL127:Layout 1 19/6/14 12:11 Page 25 COLUMNIST JULES HUDSON COUNTRY ESCAPE With many military anniversaries to celebrate this year, Jules looks to one of the Army’s most celebrated victories – one that shocked South Wales communities s anniversary years go, 2014 is set to be a When we get behind the magic of the movies, bumper one, particularly if, like me, you’re often much is misrepresented but, in Zulu’s case, Amad about military history. The centenary what you see is pretty much what happened. of the start of the First World War, the 70th The entire film was shot on location in South Africa Anniversary of D-Day, the following liberation of where the action took place and perhaps what’s even Rome and Paris, and the Battle for Arnhem are just more remarkable, is that to reproduce scenes with a few of the commemorative highlights that we thousands of warriors coursing through the might look back and reflect upon. Yet to my landscape, would today almost certainly be surprise, there’s one further military moment that achieved with computer graphics. Baker also has a birthday this year. Just a few weeks ago, and his producers had no such luxury. it was the 50th anniversary of the film Zulu . You might think that celebrating a film release What happened at Rorke’s Drift isn’t quite the same as commemorating the date of the action it portrays, and ordinarily you’d be right. gave life to an idea that would However, Zulu’s story, that of the gallant defence of the mission station at Rorke’s Drift in Natal by become one of the most famous war films ...” around 140 men – most of whom were Welsh – against an estimated 4,500 Zulu warriors, has Instead they enlisted the support of the Zulu nation JULES HUDSON was become the stuff of both military and cinematic and its current King Buthelezi. -
Introduction
1 Introduction Haunting can be seen as intrinsically resistant to the contraction and homogenization of time and space. It happens when a place is stained by time, or when a particular place becomes the site for an encounter with broken time. (Fisher 2012 : 19) To commence on a reasonably self- indulgent note, during the 1970s most provincial towns contained at least one tatty bingo hall that had once been the local ABC or Odeon picture house. As for the handful of cinemas that still existed in town centres, they were often in a profoundly sorry state of repair. For many of my background, a birthday visit to the pictures meant passing through peeling mock Ionic columns, buying strange brands of confectionery that any discerning child would other- wise avoid and settling into plush red seats that exuded clouds of dust. Th e bill of fare would usually commence with cigarette advertisements promising a jet- set world that was entirely at odds with the surroundings both in and outside of the venue. Th e next part of the ritual was the promotions for local businesses, 1 regularly enhanced by still photographs that appeared to be a decade out of date. You would not have to be supernaturally observant to appreciate, however dimly, that these venues were fast becoming ghosts, for all the billboards promising thrills, excitement and Dave Prowse sporting what appeared to be a coal scuttle on his head. When my own cinemagoing commenced, a visit to the Odeon on Above Bar Street was an occasional treat on par with a visit to the Little Chef, 2 but even so, Southampton’s picture houses seemed just as much a relic of a recent but unattain- able past. -
Hwyl and Hiraeth: Richard Burton and Wales
175 Hwyl And Hiraeth: Richard Burton And Wales Chris Williams I shall start with two brief quotations from Richard Burton.1 The first comes from an interview with Burton conducted by Kenneth Tynan in Rome in late 1966 and broadcast on the BBC in 1967. Tynan asked Burton whether there was ‘anything in the background of Wales, the cultural background, that has specifically influenced your acting?’ Burton replied: We had no actors. No actors, you know, for about forty years. I suddenly realised why we’d never had any actors. It was because all the actors went into the pulpit, the greatest stage in the world. It dominated a village in the chapel. You stood hovering like a great bird of prey over the people in the village; you said, ‘I will tell you what is wrong with you, and let me examine your soul’. The greatest pulpit in the world. And suddenly that particular kind of belief went out. They were no longer stars, the great preachers of my childhood. They went out, and the first man in Wales to stop being a preacher and start becoming an actor was Emlyn Williams. Tynan: Would it be true to say that the thing that drew you to the stage was rhetoric? Burton: Oh yes, unquestionably. I think we have a word in Welsh, misused I believe by you lot, called hwyl; nobody can ever translate it. But it’s a kind of longing for something, a kind of idiotic, marvellous, ridiculous longing.2 The second quotation is from a diary entry made by Burton on 7 December 1968, whilst at the Chalet Ariel, Gstaad, the Swiss home he shared with Elizabeth Taylor: I have a record on of ‘five thousand Welsh voices’ singing ‘Mae d’eisiau di bob awr’. -
Joseph Losey À Cannes Gene D
Document generated on 09/24/2021 4:32 p.m. Séquences La revue de cinéma Joseph Losey à Cannes Gene D. Phillips Le cinéma canadien I Number 50, October 1967 URI: https://id.erudit.org/iderudit/51700ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this article Phillips, G. D. (1967). Joseph Losey à Cannes. Séquences, (50), 47–51. Tous droits réservés © La revue Séquences Inc., 1967 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/ Gene D. Phillips Au cours du Festival de Cannes rackux, est plus représentatif de où Joseph Losey remporta le prix l'orientation de son oeuvre pos spéckl du jury pour son film Ac térieure. cident, j'ai eu l'occasion de discu En 1954, il se rendit en Angle ter de son oeuvre avec lui. terre en quête d'une liberté artis Né au Wisconsin, Losey a réa tique plus grande que celle qui lui lisé son premier film de long mé était permise à Hollywood. Depruis, trage, The Boy with Green Hair, Losey a dirigé quelques-unes des à Hollywood, en 1948.