DOCSLIB.ORG

Norman Jewison: Commercial Success, Critical Failure

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Norman Jewison: Commercial Success, Critical Failure Norman Jewison: Commercial Success, Critical Failure An Honors Thesi s (1 D c199) by Ant.hnny L. Beeson Thes is Di reel.or Hall SUit.e Univprsit:,,- ('lune i e ,I nd i ana February, 1987 f'>...;pec\.pd dat(~ of graduation: >Ja;.- 19M! Sc '2.0 \! ·1 ' ... 1he.:;i:J L.D .. d\J·f2;'( I ;;';;"1 I QS7 , BJ.f4 Table of Contents In t roduc~ T i. on .. Commen t a 1':'>- on: F. i . ;:-; . r ..... 6 .And Jusr.icp for Ai ] 0 1:2 T h p f 0 \J r f, Lm s j n rom par j s r' n . l ;) Jewison as a riirertor. 1 I Cone 1 us jon .•.• 1 H R i. hI i og raph:v •. I~ Introduction The f ~ I m s () f '\ 0 r man J tCO~'; i son are a stu d :.~ 1 n C Cl n t nl s t s . h 11 i ] e r-tlmost Cill of t.he fi Ims in Ci (1irr>ctin!:!, car'eer hhi('h t)(~gan In 1::lt:i2 hCi n=~ been successful, thpy ha\e alsn bf~en (-h('> c.;llh.)(·et ni neg;-lt \\-P, !'-.()met JOlt'S revIews from film C I' j t. I rs . for I-',pst J) reet.or, In the Heat Flddler' un tl:e h'o(~f, oid not go unsC'athpd. ( Fin I p r, 2 (i ( - 2 () 8 i (,\1 0 cit z, 1 H b - j 9 j ) fn the se(' t -j ons on :.. 0 r m Ci 'I ,J e his () n in the I ~1 i-~; e d i T. i () n 0 j hCit·]PS \io r i t. z • Joel F j J I.L e j' '~ ThE-> in the ilm revipws In the hibil0g- ra[lh~- al' the eno of tllis papPI' • one theme surfaces aga i Jl aWl again: \ornan tee h n i cal 1 ~l pro fie i p nt, '1 t tim f: s b r i I - 1 ian t, but his f i ! m S 0 \. t:'" r' s j m nil r,'t the i r' SUb,jP(,T maLt.f~j', reducing theIr sO('lHl significance. Rearing- this in mind ,he signifirnnce of Norm8n ,Jeh'lson and four of his Jl:OSt. recent fiLms. make no (' i aims of possess i ng tp{~hn i ea I expel't.i se in 1 he [1 rea of fi 1m, Rm s i mr i,'t- Fl freC]llPfl t. mel\-l e-goer. 1n Toronto, lie hegR11 his a sc-ri pT h-ri t.Fr and He'tor t. 0 p r n ri u (, e variet.y ShOhS tllr the anad 1811 Hroad('ast.l ng (:()rpor- at.ion. His pro\.;pss as a riir'f"c-toJ' jandf~rl him F1 hhpre he 'tour Hit H];d st'veral val'i p t~c shows \.;i t h as Harry 2 Garland, Danny Kaye, and Jackie Gleason. In 1962 Jel-lison directed his first theatrical film, 40 Pounds of Trouble. From there he has gone on to direct fifteen more films including: The Cincinnati Kid, The Russians arc Coming, tte Russians are Coming, The Thomas Crol-ln Affair, Jesus Agnes of God, and the four films which are the subject of this paper. (Finlor, 207-208) (Moritz, 188-191) 3 Rollerballc Rollerball is a postulation of a future world with style, but no substance. A world run not by multi-national corporations, for there are no nations, but by an all-powerful coalition of corporations known as the "Majors:" transportation, food, energy, etc. The future world is a Vtopia. War, pc,verty, sickness, all ills of society have been eliminated, but at the cost of individual freedom. "All it (the majors) asl~s of anyone ... is not to interfere with management decisions." Thus, when the game's greatest star, Johnathon E., refuses to retire and begins questioning management's decision making process, a showdown is set up between the corporation and the individual. As tte film progresses the dark underside of the corporation lS revealed. For example, it is discovered that Johnathon's first wife was taken from him by a jealous executive. In another example an executive at a party given in Johnathon's honor h'"hispers to another executive that "Evans is out." This offhand remark further illustrates the ability of the corporation to crush individuals. It is never revealed what Evans' crime was, or what he did wrong (if anything at all), the point is clear, individuals do not matter in this totalitarian regime. Utopian pleasure is purchased for the cost of individual freedom. At the party mentioned earlier an odd assortment of revelers leave the party in search of excitement. In what I consider the film's best scene, the decadent mob descends on a row of pine trees (a symbol of liberty) and jubilantly attack the trees Hith 4 a flame-thro~ing pistol. The mob is clearly representative of the corporation, destroying everything in their path, anything natural, singular, or individually beautiful. The film's focal point and central metaphor is the game of rollerball itself. The corporate leaders have designed the game not merely for amusement, to continually reinforce the message of the futility of individual effort. The players are meant only to represent cogs in a machine, cogs that are very easily rer:laced. t\evertheless, Johna thon E. emerges as a ,. star, .. an unanticipated symbol of the possibility of individual success. To further accentuate the unimportance of the individual theme, director Norman Jewison shot the film against a sleek, ultramodern backdrop. All of the corporate offices look the same; spacious and c lear l~- lit with straight lines and gently sloping curves. The buildings are stately and magnificent, yet they are permeated with an odd dehumanizing aura. t\orman Jewison also uses various, more subtle, directing skills to create the proper mood for the film. Jewison's choice of architecture has already been mentioned, but his choice of lighting coincides with the architecture to create the overall effect. For instance, the office buildings and interiors are all extremely well lit. Combined with the smooth architecture, the lighting creates a cold, foreboding atmosphere. ;--lr. Bartholomew's office, as an example, is very bright, but not the least bit cheerful. As a contrast the rollerball track and arena are very dark with lots of shado~s. The track takes on a very primitIve appearance. r t. lsi 1 t e rail;.' a pIt.. "los t of fi 1m 1 S n () t qui t e s h a r p () r (~i ear 1;.- f 0 c U s p ri . T h 1 s t. f' n d ~, 1 () g i vet h (' f i 1 m CJllR j 1 t y pmpha s i 7: i ng t IH~ film's nigi1Lmarp ,'lsion of the future. In the end inrli\'idualism triumphs. •J 0 h lW tho n. 1,-.' i i h t h p h;l I I r a i sed h i g h, p () i s pdt. () s t r i k Fan rl k ill n t'i n a lop P 0 n f' n t reaii7F'S hm,' insane the sit.uat.ion has bp('ome, \\'hnt he has about tn do h'FlS not part of anvthing resemhling sport. He ]paves his countf'J'pRrt behind anc uses the bali for' i t. sin tt~ n rl p d purpose, t.o score :\ goa I. The c h a 111 p i () nth ens I.. a t p S B r n 11 n d the t r a (' k t () t h c· c h 0 r U S (0 t' fans chant:tng his name. r n t.he fi na I frames, he i s sh()~"n out 0 f focus, an :t nd i \'j dUB t h t ul'red r'ecogn i t i on , ,,,h i ('h is t.h e film's theme Bnrl wR1'ning. One OJ t.he major (' r' i t j (' ism S 0 f the f i I m h' 0 I t e r h B j j 1."', U, :1 t Obviousl;;:, this is not. "ih n t "i 0 ]'mlUl .J PW j son had in mind. Thp problf.,m is not. thRt· t.lle ti 1m ('on1.Rins violence, but the spor1s contt>:~t in \-'tlich the \'iCllenc~i' h'8S fj lmf"(j and the desensitiy.atlon t. () violpnce tha t cnntarni na.tl'·s contempOf'Hry filmgoers. A !", a >; p () rl s fan haVE' ] i 1e1'B l 1 ,Ii t.h()\lsanos of inc ide n t s () f "i () 1 en C Pin S i) () l' tin g e v p n t s . Somp of them ha\'t' h"PIl quite spvprp. In addit.ion, grelv up in R g e n I" r R t j \J n "h i c- h S R \J t.he r'isp () f the most violent te1p\1S1011 IH'()grRms in the hist,ory J)(~at.hs in thpse shoh's ~ere r () 11 t.i rH" a n rl effect, is a numbi ng t;)h'?rds the d(~at.h or a ",ielpn" character'. \'isual irna~(p n f asp () r t s 0 ~ 1 (' I, e 11 i n g ] y v i () J e n t r: hat. the au die n (' p \-.IOU 1 d llP turned off.
Load more

Recommended publications
  • Review Essay Faith and Film
    RELIGION and the ARTS Religion and the Arts 13 (2009) 595–603 brill.nl/rart Review Essay Faith and Film David McNutt University of Cambridge Austin, Ron. In a New Light: Spirituality and the Media Arts. Grand Rapids MI: William B. Eerdmans Publishing Company, 2007. Pp. x + 95 + illus- trations. $12.00 paper. Humphries-Brooks, Stephenson. Cinematic Savior: Hollywood’s Making of the American Christ. London and Westport CT: Praeger Publishers, 2006. Pp. x + 160. $39.95 cloth. Malone, Peter, ed. Th rough a Catholic Lens: Religious Perspectives of Nine- teen Film Directors From Around the World. Communication, Culture, and Religion Series, eds. Paul J. Soukup, S.J. and Fran Plude. Lanham MD, Boulder CO, New York, and Plymouth, England: Sheed and Ward Books Division of Rowman and Littlefi eld Publishers, 2007. Pp. vi + 272. $25.95 paper. Walsh, Richard. Finding St. Paul in Film. New York and London: T. and T. Clark, 2005. Pp. vi + 218 + illustrations. $29.95 paper. * he dynamic relationship between religious faith and fi lm may be seen Tthrough a number of diff erent lenses. Th is essay will evaluate four examples of the growing number of recent books that address this connec- tion. Th e titles featured here include a volume about Hollywood’s portray- als of Jesus Christ on screen, an interpretation of fi lms in light of the fi gure and theology of Paul, a study of the infl uence of Catholicism upon the © Koninklijke Brill NV, Leiden, 2009 DOI: 10.1163/107992609X12524941450244 596 D. McNutt / Religion and the Arts 13 (2009) 595–603 work of directors from around the world, and a book investigating the pos- sibility of developing one’s spirituality through fi lmmaking.
    [Show full text]
  • JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009
    JOHN J. ROSS–WILLIAM C. BLAKLEY LAW LIBRARY NEW ACQUISITIONS LIST: February 2009 Annotations and citations (Law) -- Arizona. SHEPARD'S ARIZONA CITATIONS : EVERY STATE & FEDERAL CITATION. 5th ed. Colorado Springs, Colo. : LexisNexis, 2008. CORE. LOCATION = LAW CORE. KFA2459 .S53 2008 Online. LOCATION = LAW ONLINE ACCESS. Antitrust law -- European Union countries -- Congresses. EUROPEAN COMPETITION LAW ANNUAL 2007 : A REFORMED APPROACH TO ARTICLE 82 EC / EDITED BY CLAUS-DIETER EHLERMANN AND MEL MARQUIS. Oxford : Hart, 2008. KJE6456 .E88 2007. LOCATION = LAW FOREIGN & INTERNAT. Consolidation and merger of corporations -- Law and legislation -- United States. ACQUISITIONS UNDER THE HART-SCOTT-RODINO ANTITRUST IMPROVEMENTS ACT / STEPHEN M. AXINN ... [ET AL.]. 3rd ed. New York, N.Y. : Law Journal Press, c2008- KF1655 .A74 2008. LOCATION = LAW TREATISES. Consumer credit -- Law and legislation -- United States -- Popular works. THE AMERICAN BAR ASSOCIATION GUIDE TO CREDIT & BANKRUPTCY. 1st ed. New York : Random House Reference, c2006. KF1524.6 .A46 2006. LOCATION = LAW TREATISES. Construction industry -- Law and legislation -- Arizona. ARIZONA CONSTRUCTION LAW ANNOTATED : ARIZONA CONSTITUTION, STATUTES, AND REGULATIONS WITH ANNOTATIONS AND COMMENTARY. [Eagan, Minn.] : Thomson/West, c2008- KFA2469 .A75. LOCATION = LAW RESERVE. 1 Court administration -- United States. THE USE OF COURTROOMS IN U.S. DISTRICT COURTS : A REPORT TO THE JUDICIAL CONFERENCE COMMITTEE ON COURT ADMINISTRATION & CASE MANAGEMENT. Washington, DC : Federal Judicial Center, [2008] JU 13.2:C 83/9. LOCATION = LAW GOV DOCS STACKS. Discrimination in employment -- Law and legislation -- United States. EMPLOYMENT DISCRIMINATION : LAW AND PRACTICE / CHARLES A. SULLIVAN, LAUREN M. WALTER. 4th ed. Austin : Wolters Kluwer Law & Business ; Frederick, MD : Aspen Pub., c2009. KF3464 .S84 2009. LOCATION = LAW TREATISES.
    [Show full text]
  • The New Hollywood Films
    The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d.
    [Show full text]
  • Roger Ebert's
    The College of Media at Illinois presents Roger19thAnnual Ebert’s Film Festival2017 April 19-23, 2017 The Virginia Theatre Chaz Ebert: Co-Founder and Producer 203 W. Park, Champaign, IL Nate Kohn: Festival Director 2017 Roger Ebert’s Film Festival The University of Illinois at Urbana–Champaign The College of Media at Illinois Presents... Roger Ebert’s Film Festival 2017 April 19–23, 2017 Chaz Ebert, Co-Founder, Producer, and Host Nate Kohn, Festival Director Casey Ludwig, Assistant Director More information about the festival can be found at www.ebertfest.com Mission Founded by the late Roger Ebert, University of Illinois Journalism graduate and a Pulitzer Prize- winning film critic, Roger Ebert’s Film Festival takes place in Urbana-Champaign each April for a week, hosted by Chaz Ebert. The festival presents 12 films representing a cross-section of important cinematic works overlooked by audiences, critics and distributors. The films are screened in the 1,500-seat Virginia Theatre, a restored movie palace built in the 1920s. A portion of the festival’s income goes toward on-going renovations at the theatre. The festival brings together the films’ producers, writers, actors and directors to help showcase their work. A film- maker or scholar introduces each film, and each screening is followed by a substantive on-stage Q&A discussion among filmmakers, critics and the audience. In addition to the screenings, the festival hosts a number of academic panel discussions featuring filmmaker guests, scholars and students. The mission of Roger Ebert’s Film Festival is to praise films, genres and formats that have been overlooked.
    [Show full text]
  • TODD BECKETT Re-Recording Mixer
    TODD BECKETT Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS ARROW Greg Berlanti WBTV BATWOMAN Caroline Dries WBTV CATCH 22 Luke Davies/David Michod Paramount Television INSATIABLE Lauren Gussis CBS Television Studios Gary Dauberman/Mark SWAMP THING DC Universe Verheiden THE RED LINE Caitlin Parrish/Erica Weiss WBTV Alec Berg/Bill Hader HBO BARRY (2018) (2019) SILICON VALLEY John Altschuler/Dave HBO Krinsky (2015-18) (2018) (2016, 17, 19) Bryan Cranston/David SNEAKY PETE Amazon Studios Shore ELECTRIC DREAMS Ronald D. Moore Amazon Studios THE BLACKLIST Jon Bokenkamp Universal Television THE BLACKLIST: REDEMPTION Jon Bokenkamp Universal Television MANHATTAN Sam Shaw WGN America THE BRINK Kim & Roberto Benabib HBO Karl Gajdusek/Shawn LAST RESORT Sony Pictures Television Ryan PAN AM Nancy Hult Ganis Sony Pictures Television NO ORDINARY FAMILY Greg Berlanti ABC Studios Todd Slavkin/Darren MELROSE PLACE CBS Television Studios Swimmer FRIDAY NIGHT LIGHTS Peter Berg NBC Universal Television RE-RECORDING MIXER | SELECT FEATURE FILM CREDITS & AWARDS Dario Piana Thunder Road Pictures LOST BOYS: THE THIRST MOTHER'S DAY Darren Lynn Bousman Sierra / Affinity PIRAHNA 3D Alexandre Aja Dimension Films CRAZY HEART Scott Cooper Fox Searchlight Pictures Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.5305 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS JENNIFER'S BODY Karyn Kusama Fox Atomic THE ROAD John Hillcoat Dimension Films PUSH Paul McGuigan Summit Entertainment THE LODGER David Ondaatje Stage 6 Films BANGKOK DANGEROUS The Pang Brothers Initial Entertainment Group OUTLANDER Howard McCain The Weinstein Company ELEGY Isabel Coixet Lakeshore Entertainment Brian De Palma HDNet Films REDACTED THE BLACK DAHLIA Brian De Palma Universal Pictures SILENT HILL Christophe Gans TriStar Pictures LUCKY NUMBER SLEVIN Paul McGuigan The Weinstein Company LAND OF THE DEAD George A.
    [Show full text]
  • 'The 50 Greatest Jewish Movies: a Critic's Ranking of the Very Best'
    H-Film Davidoff on Bernheimer, 'The 50 Greatest Jewish Movies: A Critic's Ranking of the Very Best' Review published on Thursday, April 1, 1999 Kathryn Bernheimer. The 50 Greatest Jewish Movies: A Critic's Ranking of the Very Best. Secaucus, N.J.: Carol Publishing Group, 1998. xi + 212 pp. $21.95 (paper), ISBN 978-1-55972-457-9. Reviewed by Solomon Davidoff (Bowling Green State University) Published on H-Film (April, 1999) Eight Fingers I have often wondered, if we had only eight fingers instead of ten, would we be producing lists of the Thirty-Two Greatest (fill in subject here) of all time? I ask the question, because while Bernheimer attempts to categorize Jewish oriented film into the fifty greatest of all time, she notes the difficulty that the restriction places upon her, and how she has to sneak in other worthy titles among her reviews, mentioning The Frisco Kid when discussing Blazing Saddles for instance. Bernheimer provides commentary for each of the fifty films that begins with the standard information (title, studio, year of release, primary cast, director, length and rating) and a description of the entire photoplay, but goes into both positive and negative commentary. This is unlike some motion picture review books, which not only offer only positive commentary, but do not discuss the entire plot of the film, including the conclusion. While as a viewer I do not wish to be aware of a movie's conclusion before seeing it, I do want that information when reading full commentary of a production and its historical and cultural importance.
    [Show full text]
  • Eight Fingers
    Kathryn Bernheimer. The 50 Greatest Jewish Movies: A Critic's Ranking of the Very Best. Secaucus, N.J.: Carol Publishing Group, 1998. xi + 212 pp. $21.95, paper, ISBN 978-1-55972-457-9. Reviewed by Solomon Davidoff Published on H-Film (April, 1999) I have often wondered, if we had only eight "For the purposes of this book," says Bern‐ fingers instead of ten, would we be producing lists heimer, "I define (a Jewish movie) as a flm that of the Thirty-Two Greatest (fill in subject here) of examines an aspect of the Jewish experience and all time? I ask the question, because while Bern‐ features at least one clearly defned Jewish central heimer attempts to categorize Jewish oriented character" (p. ix). This definition--an excellent film into the ffty greatest of all time, she notes the starting point--explains the presence and absence difficulty that the restriction places upon her, and of a variety of titles of import. Previous similar how she has to sneak in other worthy titles among lists have focused on seminal historical events of her reviews, mentioning The Frisco Kid when dis‐ import to the Jewish community, such as the Holo‐ cussing Blazing Saddles for instance. caust, but Bernheimer does not limit herself (be‐ Bernheimer provides commentary for each of yond this definition) in any way. A key aspect of the ffty flms that begins with the standard infor‐ this, is that she includes pictures by both Jewish mation (title, studio, year of release, primary cast, directors (such as Sidney Lumet, Woody Allen, director, length and rating) and a description of Otto Preminger and Steven Spielberg), plus flms the entire photoplay, but goes into both positive by non-Jews (such as Edward Dmytryk, Hugh and negative commentary.
    [Show full text]
  • October 4, 2016 (XXXIII:6) Joseph L. Mankiewicz: ALL ABOUT EVE (1950), 138 Min
    October 4, 2016 (XXXIII:6) Joseph L. Mankiewicz: ALL ABOUT EVE (1950), 138 min All About Eve received 14 Academy Award nominations and won 6 of them: picture, director, supporting actor, sound, screenplay, costume design. It probably would have won two more if four members of the cast hasn’t been in direct competition with one another: Davis and Baxter for Best Actress and Celeste Holm and Thelma Ritter for Best Supporting Actress. The story is that the studio tried to get Baxter to go for Supporting but she refused because she already had one of those and wanted to move up. Years later, the same story goes, she allowed as maybe she made a bad career move there and Bette David allowed as she was finally right about something. Directed by Joseph L. Mankiewicz Written by Joseph L. Mankiewicz (screenplay) Mary Orr (story "The Wisdom of Eve", uncredited) Produced by Darryl F. Zanuck Music Alfred Newman Cinematography Milton R. Krasner Film Editing Barbara McLean Art Direction George W. Davis and Lyle R. Wheeler Eddie Fisher…Stage Manager Set Decoration Thomas Little and Walter M. Scott William Pullen…Clerk Claude Stroud…Pianist Cast Eugene Borden…Frenchman Bette Davis…Margo Channing Helen Mowery…Reporter Anne Baxter…Eve Harrington Steven Geray…Captain of Waiters George Sanders…Addison DeWitt Celeste Holm…Karen Richards Joseph L. Mankiewicz (b. February 11, 1909 in Wilkes- Gary Merrill…Bill Simpson Barre, Pennsylvania—d. February 5, 1993, age 83, in Hugh Marlowe…Lloyd Richards Bedford, New York) started in the film industry Gregory Ratoff…Max Fabian translating intertitle cards for Paramount in Berlin.
    [Show full text]
  • 101 Films for Filmmakers
    101 (OR SO) FILMS FOR FILMMAKERS The purpose of this list is not to create an exhaustive list of every important film ever made or filmmaker who ever lived. That task would be impossible. The purpose is to create a succinct list of films and filmmakers that have had a major impact on filmmaking. A second purpose is to help contextualize films and filmmakers within the various film movements with which they are associated. The list is organized chronologically, with important film movements (e.g. Italian Neorealism, The French New Wave) inserted at the appropriate time. AFI (American Film Institute) Top 100 films are in blue (green if they were on the original 1998 list but were removed for the 10th anniversary list). Guidelines: 1. The majority of filmmakers will be represented by a single film (or two), often their first or first significant one. This does not mean that they made no other worthy films; rather the films listed tend to be monumental films that helped define a genre or period. For example, Arthur Penn made numerous notable films, but his 1967 Bonnie and Clyde ushered in the New Hollywood and changed filmmaking for the next two decades (or more). 2. Some filmmakers do have multiple films listed, but this tends to be reserved for filmmakers who are truly masters of the craft (e.g. Alfred Hitchcock, Stanley Kubrick) or filmmakers whose careers have had a long span (e.g. Luis Buñuel, 1928-1977). A few filmmakers who re-invented themselves later in their careers (e.g. David Cronenberg–his early body horror and later psychological dramas) will have multiple films listed, representing each period of their careers.
    [Show full text]
  • Nicolas Cage Tye Sheridan Meilleur Espoir Masculin Mostra De Venise 2013
    WILD SIDE EN ASSOCIATION AVEC LE PACTE PRÉSENTE NICOLAS CAGE TYE SHERIDAN MEILLEUR ESPOIR MASCULIN MOSTRA DE VENISE 2013 D’APRÈS LE ROMAN DE LARRY BROWN UN FILM DE DAVID GORDON GREEN WILD SIDE EN ASSOCIATION AVEC LE PACTE PRÉSENTE UNE PRODUCTION WORLDVIEW ENTERTAINMENT / DREAMBRIDGE FILMS UNE PRODUCTION MUSKAT FILMED PROPERTIES / ROUGH HOUSE PICTURES D’APRÈS LE ROMAN DE LARRY BROWN UN FILM DE DAVID GORDON GREEN avec NICOLAS CAGE DISTRIBUTION TYE SHERIDAN WILD SIDE (PRIX DU MEILLEUR ESPOIR MASCULIN MOSTRA DE VENISE 2013) www.wildside.fr GARY POULTER en association avec RONNIE GENE BLEVINS LE PACTE 5, rue Darcet - 75017 Paris 1H57 / USA / 2013 / COULEUR / 5.1 / 2.40 Tél: 01 44 69 59 59 www.le-pacte.com SORTIE NATIONALE : RELATIONS PRESSE 30 AVRIL 2014 Matilde INCERTI assistée de Jérémie CHARRIER 16, rue Saint Sabin - 75011 Paris Tél: 01 48 05 20 80 Matériel presse téléchargeable sur [email protected] www.joe-lefi lm.com ripou qui tente de voler la récolte de marijuana au héros. Mais sous l’influence À PROPOS DE LARRY BROWN de Richard Howorth, le libraire de Square Books, en face du palais de justice d’Oxford, il élargira son champ de lecture, découvrant Flannery O’Connor, Larry Brown avait scotché une citation de Faulkner sur sa vieille machine Carver et Bukowski (pas encore Cormac McCarthy, qui l’influencera à partir de électrique Smith-Corona: « You Have to Kill All Your Darlings », et le moins Joe). Pour écrire, il doit s’isoler, travailler la nuit, d’abord dans une pièce exiguë qu’on puisse dire c’est qu’il prenait cela très sérieusement.
    [Show full text]
  • The Films of Norman Jewison
    NO. 121 he Museum of Modem Art FOR IMMEDIATE RELEASE [1 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart FOUR FILMS OF NORMAN JEWISON TO BE SHOWN AT MUSEUM Four films of Norman Jewison will be shown on the same day, Thursday, October 28, at The Museum of Modem Art. The director of "Fiddler on the Roof," which will premiere November 3, will be honored by this one day mini-retrospective. The films to be shown are "The Cincinnati Kid," with Steve McQueen, Edward G. Robinson and Tuesday Weld; "The Russians Are Coming," with Alan Arkin, Carl Reiner and Eva Marie Saint; "In the Heat of the Night," with Sidney Poitier and Rod Steiger; and "The Thomas Crown Affair," with McQueen and Faye Dunaway. The latter three films have been added to the Department of Film' s permanent Archive collection. The Canadian born director, a graduate of Toronto University, worked in London writing scripts and acting on the B. B.C., before returning home to become a leading television director, responsible for Canadian Broadcasting Company' s variety shows. He later worked for CBS in New York and, after making a host of musicals, including Judy Garland, Harry Belafonte and Danny Kaye specials and a Revue of The Fifties, moved to Hollywood. "The Russians Are Coming" brought Jewison prominence in film circles and "In the Heat of the Night" won the Academy Award for the Best Picture of 1967. Mr. Jewison is slated to direct a screen version of the rock opera "Jesus Christ Superstar." The schedule of the Jewison films follows: Noon "The Cincinnati Kid" 2:00 "The Thomas Crown Affair" 5:30 "In the Heat of the Night" 8:00 "The Russians Are Coming" Additional information available from Lillian Gerard, Film Coordinator, and Mark Segal, Assistant, Department of Public Information, The Museum of Modem Art, 11 West 53 Street, New York, New York 10019.
    [Show full text]
  • Jesus at the Movies
    Jesus at the Movies Jesus at the Movies A Guide to the First Hundred Years and Beyond THIRD EDITION W. Barnes Tatum POLEBRIDGE PRESS Salem, Oregon Copyright © 2013 W. Barnes Tatum All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information address Polebridge Press, Willamette University, 900 State Street, Salem, OR 97301. Design and production by Robaire Ream Third Edition Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Tatum, W. Barnes. Jesus at the movies : a guide to the first hundred years and beyond / W. Barnes Tatum. p. cm. Includes bibliographical references and index. Includes filmography. ISBN 978-1-59815-116-9 (alk. paper) 1. Jesus Christ--In motion pictures. I. Title. PN1995.9.J4T37 2013 791.43’682--dc23 2012030800 Table of Contents Acknowledgements viii Preface How to Use This Guide xi The Cinematic Jesus Promise and Problem 1 The Cinematic Jesus Jesus-story Films 19 1 Sidney Olcott From the Manger to the Cross 23 2 D. W. Griffith Intolerance 35 3 Cecil B. DeMille The King of Kings 49 4 William Wyler Ben-Hur (1959) and others 63 5 Samuel Bronston King of Kings 79 6 George Stevens The Greatest Story Ever Told 93 7 Pier Paolo Pasolini The Gospel According to St. Matthew 109 8 Norman Jewison Jesus Christ Superstar David Greene Godspell 125 9 Franco Zeffirelli Jesus of
    [Show full text]