Ingrid Bergman : the Life, Career and Public Image Pdf, Epub, Ebook
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Before the Forties
Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY -
La Voz Humana Screenbox
LA VOZ HUMANA SCREENBOX FICHA NÚM. 2.315 T.O.: THE HUMAN VOICE NACIONALIDAD: ESPAÑA Estreno Screenbox: 21-10-2.020 DURACIÓN: 30’ Estreno España: 21-10-2.020 AÑO: 2.020 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA DEL DIRECTOR: Mujer: Tilda Swinton PEDRO ALMODÓVAR (Calzada de Calatrava, 25-09-1.949) FICHA TÉCNICA -La Voz Humana (2.020) Director: Pedro Almodóvar -Dolor y Gloria (2.019) Guion: Pedro Almodóvar -La Piel que Habito (2.011) (basado en el relato de -Los Abrazos Rotos (2.009) Jean Cocteau) -Volver (2.006) Productores: Agustín Almodóvar, -Hable con Ella (2.002) Esther García -Todo Sobre Mi Madre (1.999) Música: Alberto Iglesias -La Flor de Mi Secreto (1.995) Fotografía: José Luis Alcaine -Tacones Lejanos (1.991) Montaje: Teresa Font -Mujeres al Borde de un Ataque de Nervios (1.988) SINOPSIS -La Ley del Deseo (1.987) Una mujer pasa el tiempo miran- -¿Qué He Hecho Yo Para Merecer do las maletas de su ex-amante, Esto? (1.984) que la abandona para contraer -Laberinto de Pasiones (1.982) matrimonio con otra mujer. Du- -Pepi, Luci, Bom y Otras Chicas del rante tres días, la mujer sólo sale Montón (1.980) a la calle una vez: para comprar un hacha y una lata de gasolina. PREMIOS Y PRESENCIA EN Adaptación libre del relato homó- FESTIVALES nimo de Jean Cocteau. -Sección Oficial (fuera de concur- so): Festival de Venecia (2.020) FILMOGRAFÍA (seleccionada) “LA VOZ HUMANA”, UN ACTO DE LIBERTAD EN EL “Yo casi de un modo natural quería hacer algo CAMBIO DE CICLO DE ALMODÓVAR absolutamente ya no solo distinto, sino casi opuesto, (publicado por Efe en lavanguardia.com) porque de otro modo no reconocía como contemporánea a la mujer que espera y habla con su examante”, declaró. -
Movie Museum JANUARY 2012 COMING ATTRACTIONS
Movie Museum JANUARY 2012 COMING ATTRACTIONS THURSDAY FRIDAY SATURDAY SUNDAY MONDAY 2 Hawaii Premieres! WATERBOYS PENGUINS IN THE SKY– CRADLE SONG 2 Hawaii Premieres! LATE BLOOMERS (2001-Japan) ASAHIYAMA ZOO aka Canción de cuna NOT WITHOUT YOU (2006-Switzerland) in Japanese with English (2008-Japan) (1994-Spain) aka Bu Neng Mei You Ni in Swiss German with English subtitles & in widescreen in Japanese with English in Spanish with English (2009-Taiwan) subtitles & in widescreen with Satoshi Tsumabuki, subtitles & in widescreen subtitles & in widescreen in Hakka/Mandarin w/English with Stephanie Glaser. Hiroshi Tamaki, Akifumi with Toshiyuki Nishida, 12:00 & 7:30pm only subtitles & in widescreen 12:00, 3:15 & 6:30pm only Miura, Naoto Takenaka, Yasuhi Nakamura, Ai Maeda, ---------------------------------- 12:00, 3:15 & 6:30pm only ---------------------------------- Koen Kondo, Kaori Manabe. Keiko Horiuchi, Zen Kajihara. I KNOW WHERE I'M ---------------------------------- NOT WITHOUT YOU GOING! (1945-British) LATE BLOOMERS aka Bu Neng Mei You Ni Directed and Co-written by Directed by with Wendy Hiller, Roger (2006-Switzerland) (2009-Taiwan) Shinobu Yaguchi. Masahiko Tsugawa. Livesey, Finlay Currie. in Swiss German with English in Hakka/Mandarin w/English Directed by Michael Powell subtitles & in widescreen subtitles & in widescreen 12:00, 1:45, 3:30, 5:15, 12:30, 2:30, 4:30, 6:30 and Emeric Pressburger. with Stephanie Glaser. 1:30, 4:45 & 8:00pm only 2:00, 3:45 & 5:30pm only 5 7:00 & 8:45pm 6 & 8:30pm 7 8 1:45, 5:00 & 8:15pm only 9 2 Hawaii Premieres! Martin Luther King Jr. Day Hawaii Premiere! Hawaii Premiere! MONEYBALL DISPATCH MONSIEUR BATIGNOLE THE LAST LIONS 2 Hawaii Premieres! (2011) THE FIRST GRADER (2011) (2002-France) in widescreen (2011-US/Botswana) in widescreen in French/German w/English in widescreen (2010-UK/US/Kenya) with Michael Bershad. -
Snelling Wins Best of Staffing Client Award –
Snelling Snelling Corporate Office https://www.snelling.com Snelling Wins Best of Staffing Client Award - 2017 ...but that is not all Categories : EMPLOYER HOT TOPICS Date : February 16, 2017 Do you know what Katherine Hepburn, Jack Nicholson, Ingrid Bergman, Daniel Day Lewis, Walter Brennan, Meryl Streep and Snelling all have in common? Well, obviously the first 6 people listed are movie actors. However, they are not just actors. They are part of an elite group of actors. These 6 people are – in fact – the greatest Academy Award winners of all time. Hepburn leads the pack with 4 Oscar wins; Nicholson, Bergman, Day Lewis, Brennan and Streep have all won 3 times. But no matter how you cut it, all 6 are in a class of their own. But even as we prepare to watch the Academy Awards on Sunday, Feb. 26, to see if Casey Affleck beats Andrew Garfield or if Meryl Streep beats Emma Stone (and joins Ms. Hepburn in the 4x winner club), be aware that none of these actors have achieved what Snelling has. You see, actors have the Oscars; musicians have the Grammy’s; writers have the Pulitzer. Staffing firms have the Best of Staffing award – handed out to those elite staffing firms who have received “remarkable” reviews from the clients they serve. Best of Staffing Here at Snelling, we are honored to announce that we are (again) the winner of Inavero’s Best of 1 / 2 Snelling Snelling Corporate Office https://www.snelling.com Staffing® Client Awards for 2017. But the news gets better, for Snelling has achieved what none of the actors above have. -
ANNA MAGNANI the GOLDEN COACH.1953 [Commedia Del’Arte] DIR RENOIR the FUGITIVE KIND.1959
Acting Styles Film List All the films and actors are part of film history that you should be aware of. They all contain a differing acting “style” and often have a different “method” within each film. Follow up any film and actor that interests you. Don’t feel you have to finish any you are not enjoying. My priority choices in red ANNA MAGNANI THE GOLDEN COACH.1953 [commedia del’arte] DIR RENOIR THE FUGITIVE KIND.1959. T.W .BRANDO . JOANNA WOODWARD, MAUREEN STAPLETON. THE ROSE TATTOO. 1955 T.W. BURT LANCASTER WILD IS THE WIND.1957 ANTHONY QUINN. FRANCIOSA. DIR GEORGE CUKOR. BETTE DAVIS NOW VOYAGER. 1942 CLAUDE RAINS ALL ABOUT EVE. 1950. ANNE BAXTER. MARILYN MONROE WHAT EVER HAPPENED TO BABY JANE? 1962. JOAN CRAWFORD. GERALDINE PAGE. SUMMER & SMOKE. 1961. T.W. LAWRENCE HARVEY SWEET BIRD OF YOUTH 1962. T,W. PAUL NEWMAN MONTGOMERY CLIFT. A PLACE IN THE SUN. 1951 .ELIZABETH TAYLOR YOUNG LIONS. 1958 MARLON BRANDO FROM HERE TO ETERNITY 1953. BURT LANCASTER. FRANK SINATRA. SUDDENLY LAST SUMMER 1959. T.W. ELIZABETH TAYLOR KATHERINE HEPBURN THE MISFITS. 1961. MARILYN MONROE, CLARK GABLE GRETA GARBO QUEEN CHRISTINA. 1933. JOHN GILBERT. CAMILLE 1936. ROBERT TAYLOR. DIR. GEORGE CUKOR ELIZABETH TAYLOR/BURTON WHO’S AFRAID OF VIRGINIA WOOLF. 1956 THE TAMING OF THE SHREW 1967. DIR ZEFFERELLI CAT ON A HOT TIN ROOF T.W. 1958. PAUL NEWMAN REFLECTIONS IN A GOLDEN EYE. 1967. BRANDO. DIR. JOHN HUSTON GIANT 56 JAMES DEAN. ROCK HUDSON VIVIEN LEIGH________ A STREETCAR NAMED DESIRE. T.W. 1951. BRANDO. KIM STANLEY DIR. ELIA KAZAN THE ROMAN SPRING OF MRS STONE. -
Casablanca by Jay Carr the a List: the National Society of Film Critics’ 100 Essential Films, 2002
Casablanca By Jay Carr The A List: The National Society of Film Critics’ 100 Essential Films, 2002 It’s still the same old story. Maybe more so. “Casablanca” was never a great film, never a profound film. It’s merely the most beloved movie of all time. In its fifty-year history, it has resisted the transmogrifica- tion of its rich, reverberant icons into camp. It’s not about the demimondaines washing through Rick’s Café Americain – at the edge of the world, at the edge of hope – in 1941. Ultimately, it’s not even about Bogey and Ingrid Bergman sacrificing love for nobility. It’s about the hold movies have on us. That’s what makes it so powerful, so enduring. It is film’s analogue to Noel Coward’s famous line about the amazing potency of cheap music. Like few films before or since, it sums up Hollywood’s genius for recasting archetypes in big, bold, universally accessible strokes, for turning myth into pop culture. Courtesy Library of Congress Motion Picture, Broadcast and Recorded It’s not deep, but it sinks roots into America’s Sound Division collective consciousness. As a love story, it’s flawed. We than a little let down by her genuflection to idealism. don’t feel a rush of uplift when trenchcoated Bogey, You feel passion is being subordinated to an abstraction. masking idealism with cynicism, lets Bergman, the love You want her to second-guess Rick and not go. of his life, fly off to Lisbon and wartime sanctuary with “Casablanca” leaves the heart feeling cheated. -
None of This Would Have Ever Happened If You Had Just Given an Oscar to Jennifer Lopez
NONE OF THIS WOULD HAVE EVER HAPPENED IF YOU HAD JUST GIVEN AN OSCAR TO JENNIFER LOPEZ By Tony Meneses Characters: Hugo Omar Nigel Elijah Yosef (all gay men of color in their 30’s/40’s) Setting: The last recorded Oscar party in gay history Time: February 9th, 2020 Wine. Charcuterie. Fresh fruit that no one’s eating. YOSEF. 1970? ELIJAH. ... Maggie Smith. NIGEL. Good one. YOSEF. 1991. ELIJAH Kathy Bates. HUGO. Also great. YOSEF. 1965! ELIJAH. Julie Andrews. NIGEL. (To Hugo.) Too easy. YOSEF 19... 46? ELIJAH. Joan fucking Crawford. NIGEL. HUGO. Oh my god! Yes ma-ma! NIGEL. That might actually be my favorite one. Mildred Pierce, can’t beat that. HUGO. What! Over Vivien Leigh, Ingrid Bergman, MERYL!?! 1 NIGEL. I stand by my decree. ELIJAH. Give me Elizabeth Taylor any day! YOSEF. 2002? In an instant it all goes quiet. NIGEL. ... What did you just say? YOSEF. 2002. Who won Best Actress in 2002? HUGO. Girl. Are you kidding? NIGEL. Oh god. She’s not. YOSEF. I’m not the biggest awards show gay, I’m sorry. HUGO. Who invited him again? ELIJAH. (Very serious.) 2002. That’s what you’re asking, Yosef? Two thousand, and two? YOSEF. Yes? ELIJAH. ... Halle Berry. Halle Berry won the Oscar that year. YOSEF. Oh. Isn’t that a good thing? We love Halle Berry. Don’t we? NIGEL. What kind of a question is that! 2 HUGO. You’re going to have to leave. ELIJAH. Halle Berry was—and remains to this day—the only woman of color to ever win the Academy Award for Best Actress. -
Here's Looking at You
SCANDINAVIAN REVIEW | Denmark | Finland | Iceland | Norway | Sweden | Here’s Looking at You, Kid INGRID BERGMAN AT 100 Summer 2015 INGRID BERGMAN AT 100 Another look at the luminous Swede, one of the finest stage and screen Here’s actors of the mid-20th century. Looking By Donald Dewey ER G This is where Humphrey Bogart delivers the classic line to Ingrid Bergman in Casablanca (1942). at You, Kid GRAN 30 SCANDINAVIAN REVIEW SCANDINAVIAN REVIEW 31 Ingrid Bergman at 26 HAT IS THERE LEFT TO SAY ABOUT INGRID BERGMAN? Journalists and biographers and film historians have been dipping W into Bergman’s life (1915–1982) so relentlessly for so long that it is easy to forget that it wasn’t always in the public domain. The woman’s career, off and on screen, started being dissected so minutely so many decades ago that just about the only survivors from all those labors are her children and a hand- ful of actors from the already-41-year-old Murder on the Orient Express. In short, and though many of us are loath to admit it, the world of Ingrid Bergman seems to have warp-sped away from us to distances we might not have thought possible. It may not be as remote as Planet Garbo, but it is still out there, back in that century they used to call the 20th with an air of self-satisfaction making it sound like the tiniest of steps before infinity. (“My God, man, it’s the 20th century!”) There is, of course, the record of her many performances—filmed, kinescoped, taped, digitized, hologrammed, whatever technical development preserves them next. -
Comunicato Stampa
COMUNICATO STAMPA CRONACA DI ROMA CULTURA SPETTACOLI TEMPO LIBERO ANNA Un progetto a cura di Roberta Cima e Pietro Galluzzi Opere esposte di Natino Chirico Presenta la serata Orietta Cicchinelli Sabato 15 ottobre alle ore 18:30 SpazioCima Via Ombrone 9 Roma – www.spaziocima.it [email protected] Tel.+39 0685302973 mob.+39 3311312576 Ingresso gratuito Nei giorni successivi la mostra sarà visitabile fino al 30 ottobre lunedì, mercoledì, giovedì e venerdì 15.30 - 19.30 martedì 10,00 – 13,00 Sabato e domenica su appuntamento Info per appuntamenti: mob.+39 3474330887 - +39 3311312576 Anna Magnani per me riassume l’universo femminile. La forza, la dignità, la passione delle donne si concentrano nel suo volto forte, nel suo sguardo penetrante, nella sua capigliatura ribelle, nel suo passo intrepido (Natino Chirico) Il 21 marzo 1956 Anna Magnani venne premiata come miglior attrice protagonista, nel film La rosa tatuata, con il Premio Oscar. Fu la prima interprete italiana nella storia degli Academy Awards a ricevere il principale riconoscimento cinematografico mondiale. La sua interpretazione di Serafina Delle Rose nella pellicola del 1955 al fianco di Burt Lancaster, per la regia di Daniel Mann riscosse un successo clamoroso, ma Nannarella non presenziò alla cerimonia. Il premio venne ritirato da Marisa Pavan, anche lei candidata come migliore attrice non protagonista per lo stesso film, dalle mani di uno dei più grandi attori comici di quegli anni: Jerry Lewis. Il mito di Nannarella, in occasione dei sessant’anni dallo storico evento, rivive con una serata monstre nella quale verranno presentate opere e testimonianze della più grande attrice italiana. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Anna Magnani
The Museum of Modern Art ANNA MAGNANI Born on March 7, 1908, in Rome, Anna Magnani was raised by her maternal grandmother in modest circumstances in the city's ancient quarters. At a young age, Magnani studied voice and piano and, in her late teens, entered the Rome Academy of the Dramatic Arts, where she remained for less than two years. Magnani left the Academy to take a job in a touring theater company, playing ladies' maids and other bit parts. For her work she was paid twenty-five lire a day, the equivalent of less than one dollar. In 1929 the loss of one of the troupe's leading ladies gave the actress her first break: she played a dramatic, emotional scene for which she earned rousing applause from the audience. During the thirties, Magnani alternated dramatic roles with singing and clowning in comic revues. In 1935 she married director Goffredo Alessandrini, who had been attracted to one of her fiery stage performances. Magnani initially devoted herself to the marriage, but soon returned to the stage. Alessandrini discouraged her interest in film and advised her to continue to work on the stage where her natural talent was appreciated. Unlike the glamorous stars of the day who fit the public's standards of beauty, she was considered too earthy and, ironically, too provincial for the popular screen. Magnani felt acting should be "as natural as life," that movies should be about ordinary down-to-earth women like herself. She and her husband later separated. For several years Magnani played minor roles in films that received yery little critical notice. -
Two Women Is a 1960 Italian Film Directed by Vittorio De Sica. It Tells the Story of a Woman Trying to Protect Her Young Daughter from the Horrors of War
La Ciociara (1960) Two Women is a 1960 Italian film directed by Vittorio De Sica. It tells the story of a woman trying to protect her young daughter from the horrors of war. The film stars Sophia Loren, Jean- Paul Belmondo, Raf Vallone, Eleonora Brown, Carlo Ninchi, and Andrea Checchi. The film was adapted by De Sica and Cesare Zavattini from the novel of the same name written by Alberto Moravia. The story is fictional, but based on actual events of 1944 in Rome and rural Lazio, during what Italians call the Marocchinate. Loren’s performance received critical acclaim, winning her the Academy Award for Best Actress. Plot Cesira is a widowed shopkeeper, raising her devoutly religious twelve-year-old daughter, Rosetta, in Rome during World War II. In July 1943, following the Allied bombing of Rome, mother and daughter flee to Cesira’s native Ciociaria, a rural, mountainous province of central Italy. The night before they go, Cesira sleeps with Giovanni, a coal dealer in her neighbourhood, who agrees to look after her store in her absence. After they arrive at Ciociaria, Cesira attracts the attention of Michele, a young local intellectual with communist sympathies. Rosetta sees Michele as a father figure and develops a strong bond with him. Michele is later taken prisoner by German soldiers, who force him to act as a guide through the mountainous terrain. After the Allies capture Rome, in June 1944, Cesira and Rosetta decide to head back to that city. On the way, the two are gang-raped inside a church by a group of Moroccan Goumiers – soldiers attached to the invading Allied Armies in Italy.