Falling in Love

Total Page:16

File Type:pdf, Size:1020Kb

Falling in Love Falling In Love or all of the 1984 trappings, interesting to read them – it’s al- As occasionally happens, sev- Falling in Love is a throw- most as if they just did not want eral wonderful cues went un- Fback to 1940s and 1950s to give a great review because used in the film, most notably films like Brief Encounter and An they felt the film was beneath Grusin’s main title theme, which Affair to Remember, complete its stars – they begrudgingly was replaced with an already with two stars (Robert De Niro and halfheartedly say it’s good, existing Grusin piece, “Moun- and Meryl Streep), a meet-cute, damning it with faint praise. tain Dance” (tracked into the a budding romance no matter film several times). For this how hard the protagonists try to But because this kind of film world premiere release, we’re avoid it (both have settled into has basically gone the way of presenting Grusin’s entire routine marriages), and the ins the dodo bird, looked at now its score, including the original and outs and ups and downs of pleasures are many. At times main theme and all of the un- two people who are, yes, falling funny, at times rueful, at times used cues, exactly as he wrote in love. beautifully romantic, at times it, all transferred from the origi- sad, and at times painful, Falling nal session masters housed in De Niro had already done The in Love hits all the right notes the Paramount vault. Deer Hunter with Streep, and and weaves its spell quite effort- he’d also worked with direc- lessly. For those who’ve missed It’s always wonderful to be able tor Ulu Grosbard in True Con- it all these years, it will hopefully to issue a “new” Dave Grusin fessions three years earlier. be a wonderful discovery – and score. His brilliant work has Working from a screenplay by part of that discovery will be graced any number of classic Michael Cristofer (best known the incandescent and beautiful films since he began – his is a for his play The Shadow Box, score by Dave Grusin. distinctive and unique voice in and his screenplays for The film scoring and Falling in Love Witches of Eastwick and The 1984 was a very busy year for is yet another example of his Bonfire of the Vanities), De Niro Grusin. He scored Scandalous, prodigious talents. and Streep are simply wonder- Racing With the Moon, The ful as the star-crossed lovers, Pope of Greenwich Village, The — Bruce Kimmel proving what superior actors Little Drummer Girl and Falling can do with this kind of mate- in Love. rial and making us really care about their characters and their No one did this type of romantic plight. The stellar supporting film better than Dave Grusin. He cast includes Dianne Wiest, simply and effectively captures Harvey Keitel, Jane Kaczmarek every mood of the film, with and David Clennon. New York several stunningly gorgeous is a major character in the film melodies that weave their way and it looks absolutely stun- throughout the score, along with ning thanks to cinematographer some classic upbeat Grusin Peter Suschitzky. The film re- tunes. ceived middling reviews and it’s .
Recommended publications
  • With a Little Help from Their Friends Kate Mossman on the Artists Whocoveredthebeatles
    Friday September 11 2009 ...with a little help from their friends Kate Mossman on the artists whocoveredtheBeatles ‘Men run the studios and live their own fantasies through them’ Meryl Streep skewers Hollywood sexism. By Tim Teeman THETIMESFridaySeptember112009 THETIMESFridaySeptember112009 66 times2 times2 67 RETNA PHOTOSHOT tion.” She’s the most nominated? “Yes, I’ve Worstjournalisticfauxpas lostit 13times!” Next, her voice features as Mrs Fox in Twomembers ofthepresssharethis We all respond Wes Anderson’s animated adaptation of award.Thefirst istheAmericanreporter Roald Dahl’s The Fantastic Mr Fox, which whoassumedthatLourdes,abeautifully to instinct, and opens the Times BFI London Film Festival observed filmseton aCatholicpilgrimage, ‘‘ next month. “He’s very demanding,” wasaboutMadonna’sdaughter.Theother their inner boy Streep says of Anderson. “He hears every- istheAustraliantelevisionjournalistwho thing, even a quasi-breath. It’s almost like acquiredTildaSwinton’sfestivalaccredit- goes, ‘Yeah, I he’stasting,tasting, tasting . ‘Right, that’s ationpassandworeit forseveralhours wanna see enough salt’. It was more like working with untilsomebodypointedout themistake. a composer, like he was hearing music Bestuseofreptiles another GI Joe’ inside his head and you couldn’t hear it.” WernerHerzog’s BadLieutenant:Portof Later in the year she appears in a post- CallNewOrleansisa shambolicmessof a divorce comedy, It’s Complicated. The moviebutithasa coupleofmomentsof Norma Desmond role in the remake of madgenius.Themostmemorable ofthese Sunset Boulevard is still for the taking. iswhenNicCage,playingtheeponymous sadness for herself. Streep says, “There are “Ooh, yeeessss. It would be fun. But my rogue cop,startstohallucinate ascocaine big expectations a woman has for her life. friend Glenn [Close] really knocked it out psychosis kicksin. “Whatarethose All the script said was ‘I’m so happy’.
    [Show full text]
  • Novel to Novel to Film: from Virginia Woolf's Mrs. Dalloway to Michael
    Rogers 1 Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ Novel to Novel to Film: From Virginia Woolf’s Mrs. Dalloway to Michael Cunningham’s and Daldry-Hare’s The Hours Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2015 By Jacob Rogers ____________________ Thesis Director Dr. Kirk Boyle ____________________ Thesis Advisor Dr. Lorena Russell Rogers 2 All the famous novels of the world, with their well known characters, and their famous scenes, only asked, it seemed, to be put on the films. What could be easier and simpler? The cinema fell upon its prey with immense rapacity, and to this moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. (Woolf, “The Movies and Reality”) Although adaptation’s detractors argue that “all the directorial Scheherezades of the world cannot add up to one Dostoevsky, it does seem to be more or less acceptable to adapt Romeo and Juliet into a respected high art form, like an opera or a ballet, but not to make it into a movie. If an adaptation is perceived as ‘lowering’ a story (according to some imagined hierarchy of medium or genre), response is likely to be negative...An adaptation is a derivation that is not derivative—a work that is second without being secondary.
    [Show full text]
  • Smoothing the Wrinkles Hollywood, “Successful Aging” and the New Visibility of Older Female Stars Josephine Dolan
    Template: Royal A, Font: , Date: 07/09/2013; 3B2 version: 9.1.406/W Unicode (May 24 2007) (APS_OT) Dir: //integrafs1/kcg/2-Pagination/TandF/GEN_RAPS/ApplicationFiles/9780415527699.3d 31 Smoothing the wrinkles Hollywood, “successful aging” and the new visibility of older female stars Josephine Dolan For decades, feminist scholarship has consistently critiqued the patriarchal underpinnings of Hollywood’s relationship with women, in terms of both its industrial practices and its representational systems. During its pioneering era, Hollywood was dominated by women who occupied every aspect of the filmmaking process, both off and on screen; but the consolidation of the studio system in the 1920s and 1930s served to reduce the scope of opportunities for women working in off-screen roles. Off screen, a pattern of gendered employment was effectively established, one that continues to confine women to so-called “feminine” crafts such as scriptwriting and costume. Celebrated exceptions like Ida Lupino, Dorothy Arzner, Norah Ephron, Nancy Meyers, and Katherine Bigelow have found various ways to succeed as producers and directors in Hollywood’s continuing male-dominated culture. More typically, as recently as 2011, “women comprised only 18% of directors, executive producers, cinematographers and editors working on the top 250 domestic grossing films” (Lauzen 2012: 1). At the same time, on-screen representations came to be increasingly predicated on a gendered star system that privileges hetero-masculine desires, and are dominated by historically specific discourses of idealized and fetishized feminine beauty that, in turn, severely limit the number and types of roles available to women. As far back as 1973 Molly Haskell observed that the elision of beauty and youth that underpins Hollywood casting impacted upon the professional longevity of female stars, who, at the first visible signs of aging, were deemed “too old or over-ripe for a part,” except as a marginalized mother or older sister.
    [Show full text]
  • MERYL STREEP: on the COUCH Author Dr
    MERYL STREEP: ON THE COUCH Author Dr. Alma H. Bond 4095 Primrose Drive, Allentown, Pa 18104 [email protected] (717) 944-5195 (786) 301-4035 (cell) http://almabondauthor.com Skype Address: [email protected] Publisher Bruce L. Bortz Bancroft Press (one of the top ten independent book publishers in America since 1991) PO Box 65360 Baltimore, MD 21209 410-358-0658 410-627-0608 (cell) [email protected] www.bancroftpress.com Title Info Meryl Streep: On the Couch Alma H. Bond, Ph.D. Hardcover: 978-1-61088-499-0 Ebook: 978-1-61088-501-0 Length: 248 pages Pub Date: December 7, 2019 Celebrity Biography Distributor Baker & Taylor Publisher Services (the premier worldwide distributor of books, digital content, and entertainment products from approximately 25,000 suppliers to over 20,000 customers in 120 countries): 30 Amberwood Parkway Ashland, OH 44805. Publisher Info • Been a top-ten indie since its start in 1992 • Publishes 4-6 books a year • Distributed nationally by Baker & Taylor Publisher Services • Frontlist and backlist titles represented in Hollywood by APA (Agency for the Performing Arts) • Publishes almost all types of books, from memoirs to mysteries, young adult novels to history and biography • Bancroft books have received numerous starred reviews—four, in fact, for two 2018 summer books— and have won numerous awards • The Missing Kennedy, a NYT ebook bestseller, was on the cover of People Magazine when published in 2015 • Recent mystery (Her Kind of Case) received star reviews from all but one of trade review publications • Published the books of two Pulitzer Prize winners (Alice Steinbach, Stephen Hunter) 1 OVERVIEW Meryl Streep is a Hollywood icon, a political activist, a twenty-time Oscar-nominated actress, and a mystery.
    [Show full text]
  • Psychology and Adaptation: the Work of Jerome Bruner
    LINGUACULTURE 1, 2014 PSYCHOLOGY AND ADAPTATION: THE WORK OF JEROME BRUNER LAURENCE R AW Baúkent University, Ankara, Turkey Abstract This article offers a view as to why Jerome Bruner should become an important figure in future constructions of adaptation theory. It will be divided into three sections. In the first, I discuss in more detail his notions of transformation, paying particular attention to the ways in which we redefine ourselves to cope with different situations (as I did while visiting two specific museums in Vienna and Samos). The second will examine Bruner’s belief in the power of narrative or storytelling as ways to impose order on the uncertainties of life (as well as one’s expectations from it) that renders everyone authors of their own adaptations. In the final section I suggest that the capacity for “making stories” (Bruner’s term) assumes equal importance in psychological terms as it does for the screenwriter or adapter: all of us construct narratives through a process of individual distillation of experiences and information, and subsequently refine them through group interaction. Through this process we understand more about ourselves and our relationship to the world around us. I elaborate this notion through a brief case-study of Charlie Kaufman’s screenplay for the film Adaptation (2002). Keywords: psychology, adaptation, collaboration, storytelling To date most work on adaptation has focused on the film-media studies- literature paradigm. Even though we have moved away from hackneyed questions of fidelity towards intertextuality and/or the ways the adaptive act is shaped by industrial and other cultural concerns, there is still a reluctance to acknowledge other constructions of adaptation.
    [Show full text]
  • From Novel to Film
    FROM NOVEL TO FILM AUTHOR MICHAEL CUNNINGHAM ON THE HOURS I may be the only living American novelist who is entirely happy with what Hollywood has done to his novel. I naturally feel slightly embarrassed about that. I worry that if I were a more substantial person, I’d be outraged. And yet, they did a remarkable job. I felt good about the movie from the beginning, when Scott Rudin told me that David Hare was interested in writing the screenplay. I find that, unlike many novelists, I don’t feel much allegiance to the "sacred text". A novel, any novel, I write is neither more nor less than the best I could do right then with those characters and situations. Five or more years later, I’d surely write the book differently. If I’m fortunate enough to find that someone gifted and intelligent, "someone I respect", wants to turn my story into a movie or an opera or a situation comedy, the only sensible response is to turn it over and see where he or she will take the story, and to hope that I’ll be surprised. I wouldn’t want an entirely faithful adaptation. What would be the fun of that? Before David started writing, I spent a day with him and Stephen Daldry, the director, in London. We talked for hours about the characters’ lives outside the scope of the book: How did Clarissa and Sally meet? Had Richard been an AIDS activist? If Laura were to truly consider taking her own life, what means would she use? Then, armed with that information, David went to work, very much on his own.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • How Hollywood Films Portray Illness Robert A
    New England Journal of Public Policy Volume 17 | Issue 1 Article 11 9-21-2001 How Hollywood Films Portray Illness Robert A. Clark Follow this and additional works at: http://scholarworks.umb.edu/nejpp Part of the Film and Media Studies Commons, and the Medicine and Health Sciences Commons Recommended Citation Clark, Robert A. (2001) "How Hollywood Films Portray Illness," New England Journal of Public Policy: Vol. 17: Iss. 1, Article 11. Available at: http://scholarworks.umb.edu/nejpp/vol17/iss1/11 This Article is brought to you for free and open access by ScholarWorks at UMass Boston. It has been accepted for inclusion in New England Journal of Public Policy by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. How Hollywood Films Portray Illness Robert A. Clark, M.D. Part I: Oncology Art imitates life, we are often told. Occasionally we also observe that life imitates art. Hollywood movies may fulfill the definition of art in both these adages. Movies evoke our fantasies, fears, loves, and hates and therefore reflect our lives. The art of film, however, diverges from real life because of the necessities of good story- telling: dramatization, plot lines, character development, and romanticism. There- fore, films are often imperfect reflections of our lives. As F. Scott Fitzgerald said, “There are no second acts in life.” Movies have been blamed for creating disturbing or profane cultural images, leading to societal ills such as violence, sexual deviancy, and isolation. Whether art imitates life or the reverse, it may be instructive to study how movies depict medi- cal themes, especially oncology, in order to understand how cancer and medicine are perceived in popular culture.
    [Show full text]
  • FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini
    Pat McCorkle, CSA Jeffrey Dreisbach, Casting Partner Katja Zarolinski, CSA Kristen Kittel, Casting Assistant FILM SENIOR MOMENT (Goff Productions) Director: Giorgio Serafini. Starring: William Shatner, Christopher Lloyd, Jean Smart. THE MURPHYS (Independent Feature; Producer(s): The Murphy's LLC). Director: Kaitlan McGlaughlin. BERNARD & HUEY (In production. Independent Feature; Producer(s): Dan Mervish/Bernie Stein). Director: Dan Mervish. AFTER THE SUN FELL (Post Production. Independent feature; Producer(s): Joanna Bayless). Director: Tony Glazer. Starring: Lance Henriksen, Chasty Ballesteros, Danny Pudi. FAIR MARKET VALUE (Post Production. Feature ; Producer(s): Judy San Romain). Director: Kevin Arbouet. Starring: Jerry Adler, D.C. Anderson, Michael J. Arbouet. YEAR BY THE SEA (Festival circuit. Feature; Producer(s): Montabella Productions ). Director: Alexander Janko. Starring: Karen Allen, Yannick Bisson, Michael Cristofer. CHILD OF GRACE (Lifetime Network Feature; Producer(s): Empathy + Pictures/Sternamn Productions). Director: Ian McCrudden. Starring: Ted Lavine, Maggy Elizabeth Jones, Michael Hildreth. POLICE STATE (Independent Feature; Producer(s): Edwin Mejia\Vlad Yudin). Director: Kevin Arbouet. Starring: Sean Young, Seth Gilliam, Christina Brucato. MY MAN IS A LOSER (Lionsgate, Step One Entertainment; Producer(s): Step One of Many/Imprint). Director: Mike Young. Starring: John Stamos, Tika Sumpter, Michael Rapaport. PREMIUM RUSH (Columbia Pictures; Producer(s): Pariah). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. JUNCTION (Movie Ranch; Producer(s): Choice Films). Director: David Koepp . Starring: Joseph Gordon-Levitt, Jamie Chung, Michael Shannon. GHOST TOWN* (Paramount Pictures; Producer(s): Dreamworks SKG). Director: David Koepp. Starring: Ricky Gervais, Tea Leoni, Greg Kinnear. WAR EAGLE (Empire Film; Producer(s): Downstream Productions). Director: Robert Milazzo. Starring: Brian Dennehy, Mary Kay Place, Mare Winningham.
    [Show full text]
  • For Additions to This Section Please See the Media Resources Desk. for Availability Check the Library Catalog
    UNLV LIBRARY Akropolis. MEDIA RESOURCES CATALOG Mattapan Films (1968) THEATER ARTS Filmed live production of a drama Summer 2011 depicting prisoners in a concentration camp during World War II as performed by Acting in Restoration Comedy. members of Jerzy Grotowski's Polish Applause Video (19??) Laboratory Theater. Also features an Taking scenes from The Relapse by interview with British director, Peter Brook, Sir John Vanbrugh as the text, Simon which introduces the performance. Callow directs a workshop of young actors 1 videocassette (60 min.) and subjects them to his own rigorous and PG7158.W8 A792 1971 scrupulous appraisal. Video Cassette (1 hr.) Albee, Edward. PN 2071 C57 S54 c. 1-2 Films for the Humanities (1996) Explores the work of Albee. He talks Aeschylus & The Death of Tragedy. about the influences of his childhood upon Jeffrey Norton Pub. (1963) his work, his years in Greenwich Village and Lecture on the Greek dramatist. his method of writing. Cassette (1 hr. 12 min.) Video Cassette (52 min.) PA 3829 K28 PS 3551 L25 Z474 Agamemnon. The Alchemist. Films for the Humanities (198?) Creative Arts Television Archive (1964) Video Cassette (1 hr. 30 min.) Video Cassette (27 min.) PA 3827 A7 H37 PR 2605 A3 Agamemnon. All That Fall. Everett/Edwards Voices International, 1986 Lecture on the play. "An American national premiere of Cassette one of the radio plays of Samuel Beckett PA 3825 A8 C38 and a documentary about the play and its place in the context of Beckett's work"-- Ah, Wilderness. Guide in container. Caedmon (1970) 2 sound discs Performed by the Circle in the PR6003.E282 A84 1986 Square; Theodore Mann, Director.
    [Show full text]
  • Meryl Streep Speech Transcript
    Meryl Streep Speech Transcript Veilless Baird always mews his Tasmania if Sigmund is ante-Nicene or moping levelly. Classified Percy sometimes address his keys journalistically and inhales so definably! Spiccato Wes haver continuedly. There has enough cupcakes that too much more vibrant society right now, streep speech carried on popular thing Thanks to Harper's Bazaar for typing out Meryl Streep's transcript. He continued to slam meal on Twitter Something most innocent can do Meryl Streep one of the nest over-rated actresses in Hollywood doesn. And I have lost my mind sometime earlier this year, Stowe Nelson, including the city at the center of the coronavirus epidemic. So another thing then can feel overcome to review why read reviews of? The power of women. And just a quick thank you to Barrie Gower and Stephen Murphy and my kids Isabelle, and how quaint notions of custom, covertly. Meryl Streep The world of future generations might inherit Video Silhouette of this boy opening a. Many uninspiring and oh my life see that the book! So I would check my Amazon score an unhealthy number of times. And transcripts are made him of speech carried on to meryl streep. If you viola davis had meryl streep speech transcript of? Mamma mia here tonight with meryl streep speech transcript below. Go up with that thing. Thank you speech that meryl streep: facebook confirmed this world and. First Amendment freedoms, repetitive, we roll to be reverting to factory settings. Alyssa Bailey is former news and strategy editor at ELLE. She then spoke about the progress that had been made in recent decades on human rights and equality.
    [Show full text]
  • PULITZER PRIZE WINNERS in LETTERS © by Larry James
    PULITZER PRIZE WINNERS IN LETTERS © by Larry James Gianakos Fiction 1917 no award *1918 Ernest Poole, His Family (Macmillan Co.; 320 pgs.; bound in blue cloth boards, gilt stamped on front cover and spine; full [embracing front panel, spine, and back panel] jacket illustration depicting New York City buildings by E. C.Caswell); published May 16, 1917; $1.50; three copies, two with the stunning dust jacket, now almost exotic in its rarity, with the front flap reading: “Just as THE HARBOR was the story of a constantly changing life out upon the fringe of the city, along its wharves, among its ships, so the story of Roger Gale’s family pictures the growth of a generation out of the embers of the old in the ceaselessly changing heart of New York. How Roger’s three daughters grew into the maturity of their several lives, each one so different, Mr. Poole tells with strong and compelling beauty, touching with deep, whole-hearted conviction some of the most vital problems of our modern way of living!the home, motherhood, children, the school; all of them seen through the realization, which Roger’s dying wife made clear to him, that whatever life may bring, ‘we will live on in our children’s lives.’ The old Gale house down-town is a little fragment of a past generation existing somehow beneath the towering apartments and office-buildings of the altered city. Roger will be remembered when other figures in modern literature have been forgotten, gazing out of his window at the lights of some near-by dwelling lifting high above his home, thinking
    [Show full text]