DOCSLIB.ORG

(O Leque De Lady Windermere) / 1949 the 13TH LETTER

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(O Leque De Lady Windermere) / 1949 the 13TH LETTER CINEMATECA PORTUGUESA–MUSEU DO CINEMA HISTÓRIAS DO CINEMA: CHRIS FUJIWARA / OTTO PREMINGER 22 a 26 de maio de 2017 SESSÕES-CONFERÊNCIA | APRESENTADAS E COMENTADAS POR CHRIS FUJIWARA, EM INGLÊS ALINHAMENTO DO PROGRAMA: THE FAN | THE 13TH LETTER | THE MOON IS BLUE | SKIDOO | SUCH GOOD FRIENDS segunda-feira, 22 de maio, 18h THE FAN / (O Leque de Lady Windermere) / 1949 Realização: Otto Preminger / Argumento: Walter Reisch, Dorothy Parker, Ross Evans, baSeado na peça de Oscar Wilde Lady Windermere’s Fan, adaptada para o cinema em 1925 por Ernest Lubitsch / Fotografia: JoSeph La Shelle / Direcção Artística: Lyle R. Wheeler, Leland Fuller / Montagem: Louis R. Loeffler / Música: Daniele Amfitheatrof / Figurinos: René Hubert, Charles Le Maire / Interpretação: Jeanne Crain (Lady Windermere), Madeleine Carroll (Sra. Erlynne), George Sanders (Lord Darlington), Richard Greene (Lord Windermere), Martita Hunt (Duquesa de Berwick), John Sutton (Cecil Graham), Hugh Dempser (Lord Augustus Lorton), Richard Ney (Mr. Hopper), Virginia McDowall (Lady Agatha), Hugh Murray (Dawson), Frank Elliott (o joalheiro), John Burton, Trevor Ward, Patricia Walker, etc. Produção: Otto Preminger, para a 20th Century Fox / Cópia: 35mm, preto e branco, legendada eletronicamente em portuguêS, 80 minutos / Estreia Mundial: Nova Iorque, 24 de Março de 1949 / Estreia em Portugal: Tivoli, em 10 de Abril de 1950. terça-feira, 23 de maio, 18h THE 13TH LETTER / (A Décima-Terceira Carta) / 1950 Realização: Otto Preminger / Argumento: Howard Koch, a partir de uma hiStória de LouiS Chavance, baSeada num facto real dos anos 20 e anteriormente adaptada para Le Corbeau (1943), de Henri-Georges Clouzot / Director de Fotografia: JoSeph LaShelle / Direcção Artística: Maurice Ransford, Lyle Wheeler / Cenários: Thomas Little, Walter M. Scott / Guarda- Roupa: CharleS Le Maire, Edward StevenSon / Música: Alex North / Montagem: Louis Loeffler / Som: Roger Heman, Arthur Kirbach / Interpretação: Michael Rennie (Dr. Pearson), Linda Darnell (Denise Tourneur), Charles Boyer (Dr. Laurent), Constance Smith (Cora Laurent), Françoise Rosay (Mrs. Sims), Judith Evelyn (Irmã Marie), Guy Sorel (Robert Helier), Ovila Legaré (o Presidente da Câmara). Produção: Otto Preminger, para a Twentieth Century Fox / Cópia: Cinémathèque Française, 35mm, preto e branco, legendada em francês e flamengo, e eletronicamente em português, 86 minutos / Estreia Mundial: Nova Iorque (cinema Rivoli), 19 de Janeiro de 1951 / Estreia em Portugal: LiSboa (cinema Tivoli), 28 de Janeiro de 1952. Aviso: A cópia apresenta alguns sinais de deSgaSte, designadamente na paSSagem das bobinas. quarta-feira, 24 de maio, 18h THE MOON IS BLUE / (Ingénua Até Certo Ponto) / 1953 Realização: Otto Preminger / Argumento: F. Hugh Herbert, baSeado na sua peça The Moon is Blue / Fotografia: Ernest Laszlo / Música: Herschel Burke Gilbert / Letra da Canção: Sylvia Fine / Montagem: Louis R. Loeffler, Otto Ludwig / Interpretação: Maggie McNamara (Patty O'Neill), William Holden (Don GreSham), David Niven (David Slater), Dawn Adams (Cynthia Slater), Gregory Ratoff (motorista de taxi), Fortunio Bonanova (o cantor de televisão), Hardy Kruger, Johanna Matz (um caSal na Sequência final). Produção: Otto Preminger e F. Hugh Herbert / Cópia: 35mm, preto e branco, legendada eletronicamente em português, 99 minutos / Estreia Mundial: 3 de Junho de 1953 / Estreia em Portugal: Éden, em 20 de Janeiro de 1956. quinta-feira, 25 de maio, 18h SKIDOO / 1968 Realização: Otto Preminger / Argumento: Doran William Cannon / Fotografia (Panavision, Technicolor): Leon Shamroy / Som (Mono): Glenn Andersen, Franklin Milton, Lloyd Hanks / Montagem: George Rohrs / Direcção Artística: Fred Price / Direcção Musical: George Timpton / Música e Letras: Harry Nilsson / Consultor Visual e Títulos: Sandy Dvore / Coreografia: Tom HanSen / Guarda-Roupa: Rudi Gernreich / Caracterização: Web Overlander (maquilhagem), Vivian Thompaon (cabelos) / Efeitos Especiais: Charles Spurgeon / Interpretação: Jackie GleaSon (Tony Banks), Carol Channing (Flo Banks), Groucho Marx (“Deus”), Frankie Avalon (Angie), Fred Clark (um guarda), Michael Constantine (Leech), Frank Gorshin (o Homem), John Philip Law (Stash), Peter Lawford (o Senador), Burguess Meredith, George Raft (Capitão Garbaldo), CeSar Romero (Hechy), Mickey Rooney (“Blue Chips” Packard), Austin Pendleton (o Professor), Alexandra Hay (Darlene Banks), Luna (a Amante de “Deus”), Arnold Stang (Harry), etc. Produção: Sigma Productions (EstadoS Unidos, 1968) / Produtor: Otto Preminger / Cópia: 35mm, Technicolor, legendada eletronicamente em portuguêS, 97 minutoS / Estreia Mundial: 2 de Dezembro de 1968 (distribuído pela Paramount Films) / Inédito em Portugal, Primeira apresentação em Portugal: 29 de Outubro de 1988, na Cinemateca Portuguesa (Ciclo “Otto Preminger”). sexta-feira, 26 de maio, 18h SUCH GOOD FRIENDS / (Amantes Desconhecidos) / 1971 Realização: Otto Preminger / Argumento: Elain May (sob o pSeudónimo de Esther Dale) e David Shaber a partir do romance de Lois Gould / Fotografia (Cor): Gayne Rescher / Som (Mono): Arthur Bloom, Richard Reitschmann / Montagem: Moe Howard / Direcção Artística: Rouben Ter- Arutunian / Música Original: ThomaS Z. Shepard / Guarda-Roupa: Hope Bryce / Caracterização: Saul Meth / Genérico: Saul Bass / Interpretação: Dyan Cannon (Julie Messinger), James Coco (Dr. Timmy Spector), Jennifer O’Neil (Miranda Graham), Ken Howard (Cal Whiting), Nina Foch (Mrs. Wallman), Laurence Luckinbill (Richard MeSsinger), Louise Lasser (Marcy Beams), BurgueSS Meredith (Bernard Halsted), JameS Beard (Dr. Mahler), Rita Gam (Doria Perkins), Michael Giordano III (Mathew), Oscar Grossman (o porteiro), Nancy Guild (Molly Hastings), T.J. Hargrave (Nicky), etc. Produção: Sigma ProductionS (Estados Unidos, 1971) / Produtor: Otto Preminger / Cópia: dcp, cor, legendada eletronicamente em portuguêS, 101 minutoS / Estreia Mundial: 21 de Dezembro de 1971, Nova Iorque (distribuição da Paramount Pictures) / Estreia comercial em Portugal: 23 de Fevereiro de 1973, no cinema Vox (LiSboa). .
Load more

Recommended publications
  • Motion Picture Posters, 1924-1996 (Bulk 1952-1996)
    http://oac.cdlib.org/findaid/ark:/13030/kt187034n6 No online items Finding Aid for the Collection of Motion picture posters, 1924-1996 (bulk 1952-1996) Processed Arts Special Collections staff; machine-readable finding aid created by Elizabeth Graney and Julie Graham. UCLA Library Special Collections Performing Arts Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm The Regents of the University of California. All rights reserved. Finding Aid for the Collection of 200 1 Motion picture posters, 1924-1996 (bulk 1952-1996) Descriptive Summary Title: Motion picture posters, Date (inclusive): 1924-1996 Date (bulk): (bulk 1952-1996) Collection number: 200 Extent: 58 map folders Abstract: Motion picture posters have been used to publicize movies almost since the beginning of the film industry. The collection consists of primarily American film posters for films produced by various studios including Columbia Pictures, 20th Century Fox, MGM, Paramount, Universal, United Artists, and Warner Brothers, among others. Language: Finding aid is written in English. Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library, Performing Arts Special Collections.
    [Show full text]
  • Saul Bass 20 Iconic Film Posters Laurence King Press Release
    Saul Bass 20 Iconic Film Posters Laurence King Press Release Jennifer Bass and Pat Kirkham Saul Bass: 20 Iconic Film Posters by Jennifer Bass and Pat Kirkham and published by Laurence King in September 20 illustrations 2016 is the first poster book dedicated to one of the 405 x 304 mm greatest American designers of the Twentieth Century. 44 pages PAD BOUND American graphic designer and award-winning filmmaker Saul ISBN – 978 1 8566 99891 Bass (1920-1996) was one most important designers of the £19.95 Twentieth Century. His landmark designs for films including Alfred Hitchcock’s Vertigo and Otto Preminger’s The Man with SEPTEMBER 2016 the Golden Arm became some of the most iconic film posters of the American-postwar era. For the first time, Saul Bass: 20 Iconic Film Posters brings together a collection of Bass’s legendary posters. Including the classic designs: Vertigo, The Magnificent Seven, Spartacus, and The Shining. Each poster is removable and designed to fit 12x16” frame - the perfect gift for film lovers and fans of twentieth-century design. For more information, images and review copies please contact: Fiona Livesey [email protected] Tel: +44 (0) 20 7841 6900 Saul Bass: 20 Iconic Film Posters includes: Laurence King Publishing The Man with the Golden Arm | Saint Joan | Love in the Afternoon Bonjour 361–373 City Road Tristesse | The Big Country | Vertigo | Anatomy of a Murder | Exodus | Spartacus London EC1V 1LR The Magnificent Seven | Advise & Consent | The Cardinal Tel: +44 (0)20 7841 6900 In Harm’s Way | Bunny Lake is Missing | Seconds Grand Prix | The Fixer Fax: +44 (0)20 7841 6910 Such Good Friends | The Shining | Schindler’s List www.laurenceking.com.
    [Show full text]
  • Anatomia De Um Crime – 1959
    Anatomia de um crime – 1959 Título original: Anatomy of a Murder Realizador/Produtor: Otto Preminger Argumento: Adaptação do livro de Robert Traver - pseudónimo de J. D. Voelker, juiz do Supremo Tribunal do Michigan Actores principais: James Stewart, Lee Remick, Ben Gazzara, Arthur O'Connell, Eve Arden; George C. Scott Música: Duke Ellington Local das filmagens: Michigan's Upper Peninsula Resumo P. Bigler, advogado de uma pequena cidade, solteirão e na fase descendente da carreira aceita defender Manion, official do exército, acusado do ter assassinado o proprietário de um bar local. Manion admite ter cometido o crime mas levado por um “impulso irresistível” logo após ter ouvido a confissão/juramento da mulher que fora vitima de violação pelo proprietário do bar. O argumento do “impulso irresistível” constituirá a peça principal da estratégica de defesa de P. Biegler, mas depara com a feroz oposição tanto do representante do Ministério Público local (prosecutor) como de um famoso colega de profissão junto do tribunal superior do respectivo círculo. O escândalo da linguagem relativa ao acto de violação e a música de Duke Ellington ajudaram à celebrização do filme que se tornou um clássico dos filmes habitualmente classificados como filmes de tribunal (trial films). Aliás, o filme ainda hoje é utilizado no apoio didáctico à cadeira de direito penal das faculdades de direito de quase todo o mundo. A crítica Intercourse. Contraceptive. Spermatogenesis. Sexual climax. Panties. These were not the sort of words movie theatre audiences were used to hearing on the screen in 1959 but director Otto Preminger changed all that with his controversial courtroom drama, Anatomy of a Murder.
    [Show full text]
  • Notes for Where the Sidewalk Ends
    IAP Film Series, January 2012: Five Émigré Directors and the Rise of Film Noir SCREENING #6: Where the Sidewalk Ends (96 minutes) Production Company Twentieth Century Fox / Produced by Otto Preminger US Release 7 July 1950 (New York) Director Otto Preminger: He was born in 1905, probably in a Ukrainian region of the Austro- Hungarian Empire, but possibly in Vienna; his family were middle-class Jews. His father became a leading prosecutor for the government, and the family relocated to Vienna in 1915. Otto studied law at the University of Vienna and got his degree in 1928; but by then he had begun a career in the theater, at first under the tutelage of Max Reinhardt. Starting as an actor (of moderate success), he moved into directing and also directed a few German-language films in the early 1930s. In 1935 he was invited by producer Joseph Schenck to come work at Fox in the USA, to which he agreed. Arriving in New York in 1936, he stopped off to direct a play, then went on to Hollywood. His work at Fox came to an abrupt halt in 1938, when he was fired by Zanuck while directing the “A-List” film Kidnapped. So he studied English and resumed a career directing plays in New York and elsewhere. He was called back to Fox in 1942, originally to act in various films. In 1944 he was hired by Zanuck to produce the controversial film version of Laura, eventually becoming its director. The success of this “scandalous” film noir led to his being hired to direct (and often to produce) 13 more films at Fox—the fine film Where the Sidewalk Ends being the next to last.
    [Show full text]
  • „Filmtitelgestaltung. Bewegte Typografie Und Grafikdesign Im Film an Beispielen Saul Bass’“
    DIPLOMARBEIT Titel der Diplomarbeit „Filmtitelgestaltung. Bewegte Typografie und Grafikdesign im Film an Beispielen Saul Bass’“ Verfasserin Verena Blöchl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Mag. Dr. Otto Mörth Eidesstattliche Erklärung Ich erkläre hiermit an Eides Statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht. Die Arbeit wurde bisher in gleicher oder ähnlicher Form keiner anderen Prüfungsbehörde vorgelegt und auch noch nicht veröffentlicht. Ort, Datum Unterschrift 3 Danksagung Mein äußerster Dank gilt Herrn Mag. Dr. Otto Mörth für die wertvolle Unterstützung und Zusammenarbeit. Ich bedanke mich herzlich bei meiner Familie, die mir während des Studiums unterstützend zur Seite stand. Besonderen Dank an Lena Huber-Huber für ihre kompetente Beratung bei grammatikalischen und stilistischen Fragen. Ein großes Dankeschön auch an Adrian Hügel für die moralische Unterstützung während der Erstellung dieser Arbeit. Des Weiteren bedanke ich mich bei Anselm Tröster für das große Interesse an meinem Thema und die motivierenden Worte. 5 Abstract / deutsch Diese Arbeit behandelt das Zusammenspiel von Typografie und Grafikdesign in Film- titelsequenzen und die Qualitäten, die daraus für die Filmerfahrung entstehen. Mit der vielfältigen Formensprache im Vorspann entstehen unterschiedliche Funktionen für die Filmrezeption, die ich exemplarisch an neun ausgewählten Werken von Saul Bass untersuche. Der Grafikdesigner und Regisseur leistete ab den 50er-Jahren einen bemerkenswerten Beitrag zur Entwicklung des Vorspanns. Er trug dazu bei, dass Filmtiteldesign als integraler Bestandteil der Filmstruktur aufgefasst wird.
    [Show full text]
  • Hollywood & Television
    Hollywood & Television Network TV in the US 1947-- Color • Differentiating the Theatrical Product • Herbert Kalmus & Technicolor • 3 Strip Technicolor 1950 Eastmancolor • Eastmancolor negative monopak film • 1967 All color films • 1969 TV full color • Chemical Eastmancolor fades • Dye transfer Technicolor prints (1934-1974) & B&W negatives do not fade Cinerama 1952-1962 • 1952 Sept THIS IS CINERAMA • 1955 CINERAMA HOLIDAY • 1962 WONDERFUL WORLD OF THE BROTHERS GRIMM • 1962 HOW THE WEST WAS WON 3D Film • 1951 BWANA DEVIL • 1953 HOUSE OF WAX • 1954 DIAL M FOR MURDER Widescreen • Anamorphic lens • CinemaScope • Aspect Ratio • 1:37 to 1 • Academy Ratio • 2.35 to 1 • 1.85 to 1 •20th Century Fox • 1953 THE ROBE 70mm Film Stereophonic Sound • 1955 Mike Todd, Todd AO • 70mm release prints • Super Panavision • Paramount’s VistaVision • Magnetic Recording • High Fidelity Stereophonic Sound Blockbusters • Frozen foreign profits • casts of 1000’s, exotic locations • Event releases • Roadshows and long runs The Production Code & Adult Content • Geoffrey Shurlock -- MPAA • 1951 The MIRACLE decision • 1953 THE MOON IS BLUE • 1955 MAN WITH A GOLDEN ARM • 1966 End of the Production Code MPAA Ratings Board • 1966 Jack Valenti 1921-2007 • Motion Picture Association of America • 1968 Ratings G, PG, R, X • 1969 MIDNIGHT COWBOY • 1972 DEEP THROAT •PG-13 • NC-17 • 2005 Dan Glickman The Youth Audience • 1953 THE WILD ONE • 1955 REBEL WITHOUT A CAUSE • 1956 BLACKBOARD JUNGLE • 1957 Elvis Presley & Hal Wallis • 1963 A HARD DAY’S NIGHT Teen Exploitation Films • American International Pictures • Roger Corman The Drive-In • 1932 First Drive-In • 1958 4000 Drive-Ins Southern California Drive-Ins • 107 So.
    [Show full text]
  • 1St Place Research Paper: Moviegoers and the Moon in 1953 Hannah E
    Chapman University Chapman University Digital Commons Kevin and Tam Ross Undergraduate Research Prize Leatherby Libraries Spring 5-14-2015 1st Place Research Paper: Moviegoers and the Moon in 1953 Hannah E. Gary Chapman University, [email protected] Follow this and additional works at: https://digitalcommons.chapman.edu/ undergraduateresearchprize Part of the Gender and Sexuality Commons, Other Film and Media Studies Commons, Political History Commons, Sociology of Culture Commons, and the United States History Commons Recommended Citation Gary, H.E. (2015). Moviegoers and the moon in 1953. Kevin and Tam Ross Undergraduate Research Prize. Retrieved from http://digitalcommons.chapman.edu/undergraduateresearchprize/9 This Essay is brought to you for free and open access by the Leatherby Libraries at Chapman University Digital Commons. It has been accepted for inclusion in Kevin and Tam Ross Undergraduate Research Prize by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. 1st Place Research Paper: Moviegoers and the Moon in 1953 Comments Hannah Gary won First Place in the 2014-2015 Kevin and Tam Ross Undergraduate Research Prize for her essay about researching the industrial and cultural implications of the film The Moon is Blue during the heavily censored Cold War period. This essay is the original scholarship that emerged from that research. This essay is available at Chapman University Digital Commons: https://digitalcommons.chapman.edu/undergraduateresearchprize/ 9 Moviegoers and the Moon in 1953 Hannah Gary FS 444: U.S. Postwar Cinema December 16, 2014 2 “There are lots of girls who don’t mind being seduced,” Patty (Maggie McNamara) tells Don (William Holden) in The Moon is Blue (Preminger 1953),1 “Why pick on those who do?” Blatantly honest, Patty’s question of unwanted male attention might also apply to the film’s production, particularly the opinions of prevailing censorship groups who believed it to be their duty to prevent the “seduction” of morally diverse audiences.
    [Show full text]
  • British Film Institute Report & Financial Statements 2006
    British Film Institute Report & Financial Statements 2006 BECAUSE FILMS INSPIRE... WONDER There’s more to discover about film and television British Film Institute through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning Report & Financial resources are here to inspire you. Statements 2006 Contents The mission about the BFI 3 Great expectations Governors’ report 5 Out of the past Archive strategy 7 Walkabout Cultural programme 9 Modern times Director’s report 17 The commitments key aims for 2005/06 19 Performance Financial report 23 Guys and dolls how the BFI is governed 29 Last orders Auditors’ report 37 The full monty appendices 57 The mission ABOUT THE BFI The BFI (British Film Institute) was established in 1933 to promote greater understanding, appreciation and access to fi lm and television culture in Britain. In 1983 The Institute was incorporated by Royal Charter, a copy of which is available on request. Our mission is ‘to champion moving image culture in all its richness and diversity, across the UK, for the benefi t of as wide an audience as possible, to create and encourage debate.’ SUMMARY OF ROYAL CHARTER OBJECTIVES: > To establish, care for and develop collections refl ecting the moving image history and heritage of the United Kingdom; > To encourage the development of the art of fi lm, television and the moving image throughout the United Kingdom; > To promote the use of fi lm and television culture as a record of contemporary life and manners; > To promote access to and appreciation of the widest possible range of British and world cinema; and > To promote education about fi lm, television and the moving image generally, and their impact on society.
    [Show full text]
  • Appendix 1: Selected Films
    Appendix 1: Selected Films The very random selection of films in this appendix may appear to be arbitrary, but it is an attempt to suggest, from a varied collection of titles not otherwise fully covered in this volume, that approaches to the treatment of sex in the cinema can represent a broad church indeed. Not all the films listed below are accomplished – and some are frankly maladroit – but they all have areas of interest in the ways in which they utilise some form of erotic expression. Barbarella (1968, directed by Roger Vadim) This French/Italian adaptation of the witty and transgressive science fiction comic strip embraces its own trash ethos with gusto, and creates an eccentric, utterly arti- ficial world for its foolhardy female astronaut, who Jane Fonda plays as basically a female Candide in space. The film is full of off- kilter sexuality, such as the evil Black Queen played by Anita Pallenberg as a predatory lesbian, while the opening scene features a space- suited figure stripping in zero gravity under the credits to reveal a naked Jane Fonda. Her peekaboo outfits in the film are cleverly designed, but belong firmly to the actress’s pre- feminist persona – although it might be argued that Barbarella herself, rather than being the sexual plaything for men one might imagine, in fact uses men to grant herself sexual gratification. The Blood Rose/La Rose Écorchée (aka Ravaged, 1970, directed by Claude Mulot) The delirious The Blood Rose was trumpeted as ‘The First Sex Horror Film Ever Made’. In its uncut European version, Claude Mulot’s film begins very much like an arthouse movie of the kind made by such directors as Alain Resnais: unortho- dox editing and tricks with time and the film’s chronology are used to destabilise the viewer.
    [Show full text]
  • Program JK Maj 2021.Indd
    програм Југословенска кинотека МАЈ 2021 Косовска 11, Сала Динко Туцаковић КЊИЖЕВНОСТ НА ФИЛМУ 2 – РЕПРИЗА СРЕДА 5. пројекција у 17.30 пројекција у 20.00 МАЈ ДР УБИТИ ПТИЦУ (ЈУГ, 1962) РУГАЛИЦУ .................................................................................... (САД, 1962) Улоге: Миливоје Живановић, To Kill a Mockingbird Мија Алексић .................................................................................... Режија: Софија Соја Јовановић Улоге: Грегори Пек (Gregory Peck), Џон Мења (John Megna) Режија: Роберт Малиган (Robert Mulligan) ЧЕТВРТАК 6. пројекција у 17.30 пројекција у 20.00 МАЈ РЕБЕКА ТРЕЈНСПОТИНГ (САД, 1940) (ВБ, 1996) Rebecca Trainspotting .................................................................................... .................................................................................... Улоге: Лоренс Оливије Улоге: Јуан Макгрегор (Laurence Olivier), (Ewan McGregor), Џоан Фонтејн (Joan Fontaine) Џони Ли Милер (Jonny Lee Miller) Режија: Алфред Хичкок Режија: Дени Бојл (Alfred Hitchcock) (Danny Boyle) ПЕТАК 7. пројекција у 17.30 пројекција у 20.00 МАЈ ОРКАНСКИ ВИСОВИ ЛОЛИТА (САД, 1939) (ВБ/САД, 1962) Wuthering Heights Lolita .................................................................................... .................................................................................... Улоге: Мерл Оберон Улоге: Џејмс Мејсон (Merle Oberon), Лоренс (James Mason), Шели Оливије (Laurence Olivier) Винтерс (Shelley Winters) Режија: Вилијам Вајлер Режија: Стенли Кјубрик (William Wyler)
    [Show full text]
  • Film Noir Database
    www.kingofthepeds.com © P.S. Marshall (2021) Film Noir Database This database has been created by author, P.S. Marshall, who has watched every single one of the movies below. The latest update of the database will be available on my website: www.kingofthepeds.com The following abbreviations are added after the titles and year of some movies: AFN – Alternative/Associated to/Noirish Film Noir BFN – British Film Noir COL – Film Noir in colour FFN – French Film Noir NN – Neo Noir PFN – Polish Film Noir www.kingofthepeds.com © P.S. Marshall (2021) TITLE DIRECTOR Actor 1 Actor 2 Actor 3 Actor 4 13 East Street (1952) AFN ROBERT S. BAKER Patrick Holt, Sandra Dorne Sonia Holm Robert Ayres 13 Rue Madeleine (1947) HENRY HATHAWAY James Cagney Annabella Richard Conte Frank Latimore 36 Hours (1953) BFN MONTGOMERY TULLY Dan Duryea Elsie Albiin Gudrun Ure Eric Pohlmann 5 Against the House (1955) PHIL KARLSON Guy Madison Kim Novak Brian Keith Alvy Moore 5 Steps to Danger (1957) HENRY S. KESLER Ruth Ronan Sterling Hayden Werner Kemperer Richard Gaines 711 Ocean Drive (1950) JOSEPH M. NEWMAN Edmond O'Brien Joanne Dru Otto Kruger Barry Kelley 99 River Street (1953) PHIL KARLSON John Payne Evelyn Keyes Brad Dexter Frank Faylen A Blueprint for Murder (1953) ANDREW L. STONE Joseph Cotten Jean Peters Gary Merrill Catherine McLeod A Bullet for Joey (1955) LEWIS ALLEN Edward G. Robinson George Raft Audrey Totter George Dolenz A Bullet is Waiting (1954) COL JOHN FARROW Rory Calhoun Jean Simmons Stephen McNally Brian Aherne A Cry in the Night (1956) FRANK TUTTLE Edmond O'Brien Brian Donlevy Natalie Wood Raymond Burr A Dangerous Profession (1949) TED TETZLAFF George Raft Ella Raines Pat O'Brien Bill Williams A Double Life (1947) GEORGE CUKOR Ronald Colman Edmond O'Brien Signe Hasso Shelley Winters A Kiss Before Dying (1956) COL GERD OSWALD Robert Wagner Jeffrey Hunter Virginia Leith Joanne Woodward A Lady Without Passport (1950) JOSEPH H.
    [Show full text]
  • Ape Chronicles #035
    For a Man! PLANET OF THE APES 1957 The Three Faces of Eve ARMY ARCHERD WHO IS WHO ? 1957 Peyton Place FILMOGRAPHY 1957 No Down Payment 1958 Teacher's Pet (uncredited) FILMOGRAPHY (AtoZ) 1957 Kiss Them for Me 1963 Under the Yum Yum Tree Compiled by Luiz Saulo Adami 1957 A Hatful of Rain 1964 What a Way to Go! (uncredited) http://www.mcanet.com.br/lostinspace/apes/ 1957 Forty Guns 1966 The Oscar (uncredited) apes.html 1957 The Enemy Below 1968 The Young Runaways (uncredited) [email protected] 1957 An Affair to Remember 1968 Planet of the Apes (uncredited) AUTHOR NOTES 1958 The Roots of Heaven 1968 Wild in the Streets Thanks to Alexandre Negrão Paladini, from 1958 Rally' Round the Flag, Boys! 1970 Beneath the Planet of the Apes Brazil; Terry Hoknes, from Canadá; Jeff 1958 The Young Lions (uncredited) Krueger, from United States of America; 1958 The Long, Hot Summer 1971 Escape from the Planet of the Apes and Philip Madden, from England. 1958 Ten North Frederick 1972 Conquest of the Planet of the Apes 1958 The Fly (uncredited) 1959 Woman Obsessed 1973 Battle for the Planet of the Apes To remind a film, an actor or an actress, a 1959 The Man Who Understood Women (uncredited) musical score, an impact image, it is not so 1959 Journey to the Center of the Earth/Trip 1974 The Outfit difficult for us, spectators of movies or TV. to the Center of the Earth 1976 Won Ton Ton, the Dog Who Saved Really difficult is to remind from where else 1959 The Diary of Anne Frank Hollywood we knew this or that professional.
    [Show full text]