DOCSLIB.ORG

D6430 Dog Day Afternoon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
D6430 Dog Day Afternoon D6430 DOG DAY AFTERNOON (USA, 1975) (Other titles: Apres-midi de chien; Cerna kronjka; Hundstage; Quel pomeriggio di un qiorno da cani; Skaev eftermiddag; Tarde de perros) Credits: director, Sidney Lumet ; writer, Frank Pierson. Cast: Al Pacino, John Cazale, Charles Durning, Chris Sarandon. Summary: Crime melodrama set in contemporary Brooklyn, N.Y. The story of a botched bank robbery on August 22, 1972 in Brooklyn that turned into a bizarre hostage situation. Based on a true incident. Bisexual Sonny (Pacino) and his moronic friend Sol (Cazale) try to rob a the bank to pay for a sex- change operation for Sonny's transvestite lover. They are surrounded in the bank by an army of police. The thieves threaten to shoot the hostages, saying “we are Vietnam veterans and killing doesn't bother us,” and demanding a $1 million dollar ransom and a plane to fly them to a distant country (Wyoming). They eventually get a bus to the airport, but are outwitted and captured by the FBI. “Athens film critics tap ‘Dog day’ as best import” Variety 283 (May 26, 1976), p. 39. “Authors League fears costly suits if ‘unidentified’ persons can sue in connection with true tales” Variety 288 (Oct 26, 1987), p. 6. Behar, Henri. “Un apres-midi de chien” Revue du cinema 303 (Feb 1976), p. 120-22. Behrendt, Flemming. “En slaev eftermiddag” Kosmorama 22/131 (1976), p. 212-13. Benoit, Claude. “Un apres-midi de chien” Jeune cinema 94 (Apr 1976), p. 41-3. “Big in Italy: WB’s ‘Dog’, Fox’s ‘Holmes’“ Variety 281 (Feb 4, 1976), p. 26. Bookbinder, Robert. Films of the seventies Secaucus, N.J. : Citadel Press, 1982. (p. 129-30) Boost, Charles. “Pokeren om te leven” Skoop 12 (Jan 1976), p. 10-13. Bowles, Stephen E. Sidney Lumet: a guide to references and resources Boston : G.K. Hall, 1979. (p. 104-7) Boyum, Joy Gould. “On film: A bank heist in Brooklyn” Wall Street journal (Sep 22, 1975), p. 9. Buckley, Michael. “Dog day afternoon” Films in review 26 (Nov 1975), p. 563. Callahan, Michael A. “Cops and robbers in screwball comedy” National Catholic reporter 12 (Oct 31, 1975), p. 10. Canby, Vincent. “Lumet’s quintessential New York film” New York times 125 (Sep 28, 1975), sec. 2, p. 13. ____________. “Screen: Lumet’s ‘Dog day afternoon’“ New York times 125 (Sep 22, 1975), p. 41. Canham, Cleve. “Dog day afternoon” Audience 8 (May 1976), p. 6-7. Castell, David. “Dog day afternoon” Films illustrated 5 (Jan 1976), p. 165. Cebe, Gilles. “Une trilogie americaine” Cinematographe 74 (Jan 1982), p. 20-23. Cocks, Jay and Schickel, Richard. “Island idyl; Lost connection; African caper” Time 106 (Oct 6, 1985), p. 6+ Coleman, John. “Films: Partners in grime” New statesman 90 (Dec 19, 1975), p. 799- 800. Combs, Richard. “Dog day afternoon” Monthly film bulletin 42 (Nov 1975), p. 136- 7. Comuzio, Ermanno. “Quel pomeriggio di un giorno da cani” Cineforum 152 (Mar 1976), p. 152-4. Cotter, Jerry. “Screen” Sign 55 (Nov 1975), p. 21. Crist, Judith. “Out of the doldrums” Saturday review 3 (Oct 4, 1975), p. 35-6. Cros, Jean-Louis. “Un apres-midi de chien” Revue du cinema 309-310 (Oct 1976), p. 373-4. Cumbow, Robert C. “Dog day afternoon” Movietone news 47 (Jan 1976), p. 34-5. Devine, Jeremy M. Vietnam at 24 frames a second [GB] (p. 106) “‘Dog’ big 169G, Manila” Variety 283 (May 19, 1976), p. 50. “Dog day afternoon” Films and filming 21 (May 1975), p. 17-19. [Dog day afternoon] Hollywood reporter 237/50 (Sep 4, 1975), p. 3. [Dog day afternoon] Listener 95/2439 (Jan 8, 1976), p. 25. [Dog day afternoon] Los Angeles times (Oct 5, 1975), Calendar, p. 1. [Dog day afternoon] Los Angeles times (Jan 27, 1976), sec. IV, p. 1, 10. [Dog day afternoon] Mademoiselle 81 (Oct 1975), p. 86. “Dog day afternoon” Motion picture guide (edited by Jay Robert Nash and Stanley Ralph Ross) Chicago : Cinebooks, 1985. (v. 2, p. 684) [Dog day afternoon] Motion picture herald product digest (Sep 24, 1975), p. 29. [Dog day afternoon] Photoplay film monthly 26 (Dec 1975), p. 58-9. [Dog day afternoon] Playboy 22 (Oct 1975), p. 20-21. [Dog day afternoon] St. Anthony messenger 83 (Jan 1976), p. 8. [Dog day afternoon] St. Anthony messenger 83 (Feb 1976), p. 8. [Dog day afternoon] Screen international n. 15 (Dec 13, 1975), p. 12. [Dog day afternoon] Vogue 165 (Oct 1975), p. 72. “‘Dog day afternoon’ doing good boxoffice in Brazil” Boxoffice 109 (May 10, 1976), p. 13. “‘Dog day’ breaks records in Lima, Peru” Boxoffice 109 (May 10, 1976), p. 17. “‘Dog day’ in N.Y. area nears $6-mil.” Variety 282 (Mar 3, 1976), p. 4. Early, Emmett. The war veteran in film Jefferson, N.C. : McFarland, 2003. (p. 198, 205, 211) Edelman, Rob. “Dog day afternoon” Magill’s survey of cinema. English language films, first series Englewood Cliffs, N.J. : Salem Press, 1980. (v. 1, p. 474-77) Elia, Maurice. “Dog day afternoon” Sequences 83 (Jan 1976), p. 36-8. “Exhibitors use creative approaches to prepare for ‘Dog day afternoon’” Boxoffice 109 (May 3, 1976), p. 17. Farren, Jonathan. “Un apres-midi de chien” Cinema 76 207 (Mar 1976), p. 131-2. Fieschi, Jacques. “Un apres-midi de chien” Cinematographe 18 (Apr/May 1976), p. 42. Gilliatt, Penelope. “The current cinema: Vivid doldrums” New Yorker 51 (Sep 22, 1975), p. 94-5. Gow, Gordon. “Dog day afternoon” Films and filming 22/4 (Jan 1976), p. 33. Greenspun, Roger. “Fear and trembling: ‘Love and death’; ‘Dog day afternoon’“ Penthouse 7 (Oct 1975), p. 46-7. Hatch, Robert. “Films” Nation 221 (Oct 11, 1975), p. 347+ Holm, Eric. “Dog day afternoon” Jump cut n. 10-11 (summer 1976), p. 3-4. “It’s a dog day in court for WB, et al; lose first round” Variety 284 (Sep 1, 1976), p. 6. Jameson, Frederic. “Class and allegory in contemporary mass culture: ‘Dog day afternoon’ as a political film” Screen education 30 (spring 1979), p. 75-92. [Reprinted in Movies and methods : an anthology (edited by Bill Nichols) Berkeley : Univ. of California Press, 1976-1985. (v. 2, p. 715-33); and in the author’s Signatures of the visible New York : Routledge, 1990. (p. 35-54)] Kane, Pascal. “‘Taxi driver’; ‘Un apres-midi de chien’” Cahiers du cinema 268-69 (Jul/Aug 1976), p. 99. Kauffmann, Stanley. “Stanley Kauffmann on films” New republic 173 (Oct 4, 1975), p. 20-21. Kavcic, Bojan. “Paje popoldne” Ekran 4/5-6 (1979), p. 33. Kay, Karyn. “‘Dog day afternoon’: Lumpen Lumet” Jump cut 10-11 (summer 1976), p. 3. Kerr, Paul. “The Vietnam subtext” Screen 21/2 (1980), p. 67-72. Klain, Stephen. “Dog day afternoon” Independent film journal 76 (Sep 17, 1975), p. 5+ ____________. “It’s payoff time for victims in crime titled ‘Dog day afternoon’“ Variety 289 (Nov 23, 1977), p. 5+ Kroll, Jack. “Bank shot” Newsweek 86 (Sep 29, 1975), p. 84. Landau, Jon. “Bisexual bombs in Brooklyn” Rolling stone 198 (Oct 23, 1975), p. 29. Leirens, Jean. “Dog day afternoon” Amis du film et de la television 238 (Mar 1976), p. 33. “Litigations hurricane averted” Variety 290 (Feb 22, 1978), p. 32. Lumetova. “Cerna kronjka” Film a doba 22 (Jun 1976), p. 355. Maher, Patrick. “Screenwriter Frank Pferson at work” Cinema papers 73 (May 1989), p. 46-50. “Man whose robbery inspired film is held” New York times 135 (Aug 15, 1986), p. D15. Monaco, James. “Dog day afternoon” Sight and sound 45/1 (1976), p. 57-8. Murphy, Arthur D. (Murf). “Dog day afternoon” Variety 280 (Aug 27, 1975), p. 15. Pede, Ronnie. “Dog day afternoon” Film en televisie 228-229 (May/Jun 1976), p. 30. Perez, Michel. “La charrue et les etoiles” Positif 179 (Mar 1976), p. 68-9. Piro, Sinibaldo. “Quel pomeriggio di un giorno da cani” Cinema nuovo 25 (Mar/Apr 1976), p. 136-7. Plazewski, Jerzy. “Zgoda” Kino 11 (Apr 1976), p. 52-3. Roffe, Alfredo. “Tarde de perros” Cine al dia 21 (Jan 1977), p. 28-9. Rowe, Kathleen Karlyn. “Class and allegory in Jameson’s film criticism” Quarterly review of film and video 12/4 (1991), p. 18. Ryan, Tom. “Dog day afternoon” Cinema papers 3 (Jun/Jul 1976), p. 74-5. Sackett, Susan. The Hollywood Reporter book of box office hits Rev. and enl. ed. New York : Billboard Books, 1996. (p. 245) Sarris, Andrew. “It’s mythmaking time for Pacino and Lumet” Village voice 20 (Sep 29, 1975), p. 111. Schickel, Richard (see under Cocks, Jay) Schobert, Walter. “Hundstage” Medium 6 (Apr 1976), p. 28-9. Simon, John. “One dog day or three condor ones” New York 8 (Sep 29, 1975), p. 84. [Reprinted in his Reverse angle : a decade of American films New York : C.N. Potter, 1981. (p. 198-9)] Smith, Gavin. “That’s the way it happens” Film comment 28 (Sep/Oct 1992), p. 50- 52+ [8 p.] Stein, Jerry. “Dog day afternoon” Film heritage 11/2 (1976), p. 44-5. Turroni, Giuseppe. “Quel pomeriggio di un giorno da cani” Filmcritica 27 (Jan/Feb 1976), p. 20. “‘Unnamed’ wife loses again” Variety 287 (Jun 15, 1977), p. 4. Wall, James M. “‘Dog day afternoon’ revisited” Christian century 97 (Apr 23, 1980), p. 459-60. Westerbeck, Colin L., Jr. “Hero worship” Commonweal 102 (Oct 24, 1975), p. 499. “Wins for ‘Dog day’ from L.A. critics” Variety 282 (Mar 3, 1976), p. 20. Wisinger, Istvan. “A bun artatlan foglyai” Filmkultura 19/4 (1983), p. 71-7. Wojtowicz, John. “Read ‘Dog day” hero tells his story” Jump cut 13 (1977), p.
Load more

Recommended publications
  • 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]
  • Transcript Sidney Lumet
    TRANSCRIPT A PINEWOOD DIALOGUE WITH SIDNEY LUMET Sidney Lumet’s critically acclaimed 2007 film Before the Devil Knows You’re Dead, a dark family comedy and crime drama, was the latest triumph in a remarkable career as a film director that began 50 years earlier with 12 Angry Men and includes such classics as Serpico, Dog Day Afternoon, and Network. This tribute evening included remarks by the three stars of Before the Devil Knows Your Dead, Ethan Hawke, Marissa Tomei, and Philip Seymour Hoffman, and a lively conversation with Lumet about his many collaborations with great actors and his approach to filmmaking. A Pinewood Dialogue with Sidney Lumet shooting, “I feel that there’s another film crew on moderated by Chief Curator David Schwartz the other side of town with the same script and a (October 25, 2007): different cast, and we’re trying to beat them.” (Laughter) “You know, trying to wrap the movie DAVID SCHWARTZ: (Applause) Thank you, and ahead of them. It’s like a race.” I remember welcome, everybody. Sidney Lumet, as I think all saying that “you know if this movie works, then of you know, has received a number of salutes I’m going to have to rethink my whole idea of and awards over the years that could be process, because I can not imagine that this will considered lifetime achievement awards—which work!” (Laughter) I’ve never seen such a might sometimes imply that they’re at the end of deliberate—I’m going to steal your words, Phil, their career. But that’s certainly far from the case, but—a focus of energy, and use of energy.
    [Show full text]
  • HH Available Entries.Pages
    Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha
    [Show full text]
  • Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan* Douglas Kellner (
    Film, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan* Douglas Kellner (http://www.gseis.ucla.edu/faculty/kellner/) In our book Camera Politica: Politics and Ideology in Contemporary Hollywood Film (1988), Michael Ryan and I argue that Hollywood film from the 1960s to the present was closely connected with the political movements and struggles of the epoch. Our narrative maps the rise and decline of 60s radicalism; the failure of liberalism and rise of the New Right in the 1970s; and the triumph and hegemony of the Right in the 1980s. In our interpretation, many 1960s films transcoded the discourses of the anti-war, New Left student movements, as well as the feminist, black power, sexual liberationist, and countercultural movements, producing a new type of socially critical Hollywood film. Films, on this reading, transcode, that is to say, translate, representations, discourses, and myths of everyday life into specifically cinematic terms, as when Easy Rider translates and organizes the images, practices, and discourses of the 1960s counterculture into a cinematic text. Popular films intervene in the political struggles of the day, as when 1960s films advanced the agenda of the New Left and the counterculture. Films of the "New Hollywood," however, such as Bonnie and Clyde, Medium Cool, Easy Rider, etc., were contested by a resurgence of rightwing films during the same era (e.g. Dirty Harry, The French Connection, and any number of John Wayne films), leading us to conclude that Hollywood film, like U.S. society, should be seen as a contested terrain and that films can be interpreted as a struggle of representation over how to construct a social world and everyday life.
    [Show full text]
  • New Hollywood As Political Discourse
    CAPTURING TURMOIL: NEW HOLLYWOOD AS POLITICAL DISCOURSE by DANA ALSTON A THESIS Presented to the Department of Cinema Studies and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2018 An Abstract of the Thesis of Dana Alston for the degree of Bachelor of Arts in the Department of Cinema Studies to be taken June 2018 Title: Capturing Turmoil: New Hollywood as Political Discourse Approved: _______________________________________ Dr. Erin Hanna This thesis is an argumentative close analysis of themes, aesthetics, and political meanings within three New Hollywood films. It emerged out of an interest in the films of the 1960s and 70s and the changes within that era’s film industry. Those changes granted young, educated filmmaker opportunities to helm studio-driven projects, weaving material into their narratives that would have been impossible in a system ruled by the Hollywood Production Code. The era also included significant social and political unrest, and the films therein reflect that reality. In this project, I perform content analyses for three films within the New Hollywood movement — Bonnie and Clyde (1967), Dog Day Afternoon (1975), and Nashville (1975) — in order to understand how films in the movement used themes of celebrity, violence, and oppression to act as a form of discourse. All three films employ on-screen violence to complicate the audience’s initial assumptions of characters, and each film critiques the social and political issues of its time through this violence. For each analysis, I discuss several sequences’ mise-en-scène — the arrangement of elements within the entire frame — and connect them to broad socio-political ideas.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • American Repertory Theater in Association with Harvard University Office for the Arts and Stagesource Will Hold a Memorial Servi
    For Immediate Release: February 24, 2012 Contact: Kati Mitchell 617-495-2668 [email protected] American Repertory Theater in association with Harvard University Office for the Arts and StageSource will hold a Memorial Service for Director DAVID WHEELER Monday, May 14 at 6:00pm Loeb Drama Center Cambridge, Mass — The American Repertory Theater (A.R.T.), in association with Harvard University Office for the Arts and StageSource, will host a memorial service to celebrate the life and accomplishments of its longtime Resident Director, Harvard University alumnus, and Boston director David Wheeler, who passed away unexpectedly on January 4th of this year. The celebration will include friends, colleagues, and family who knew and loved David, and all are invited to attend. The memorial will be held at 6:00pm on Monday, May 14th in the theater of the Loeb Drama Center, 64 Brattle Street, Cambridge where many of David’s productions were performed, and will be followed by a reception in the lobby of the theater. David Wheeler directed over two hundred plays in his long career. As Resident Director at the A.R.T. since 1984 and later Associate Artist, he directed over twenty productions, most recently Harold Pinter’s No Man’s Land in 2007 (receiving the Elliot Norton and IRNE Awards for Best Director, and IRNE for Best Production). Other highlights at A.R.T. include The Homecoming, The Caretaker, Misalliance, Man and Superman (Eliot Norton, Best Production), David Mamet’s adaptation of Uncle Vanya (with Christopher Walken), Don DeLillo’s Valparaiso and The Day Room, How I Learned to Drive (with Debra Winger), What the Butler Saw, Picasso at the Lapin Agile, Waiting for Godot, Gillette, and Sam Shepard’s Angel City and True West.
    [Show full text]
  • I Knew It Was You (2009) La Straordinaria Storia Di John Cazale, Talento Immenso Mai Riconosciuto Dal Grande Pubblico
    I Knew It Was You (2009) La straordinaria storia di John Cazale, talento immenso mai riconosciuto dal grande pubblico. Un film di Richard Shepard con Steve Buscemi, Steve Casale, Francis Ford Coppola, Robert De Niro, Richard Dreyfuss, Olympia Dukakis, Robyn Goodman, Gene Hackman, Mark Harris (III), Philip Seymour Hoffman. Genere Documentario durata 40 minuti. Produzione USA 2009. Lo conosciamo tutti anche se non sappiamo ricollegare quel nome a quel volto. Ha fatto solo 5 film ma è stato uno degli attori più importanti di Hollywood Gabriele Niola - www.mymovies.it Tutti ci ricordiamo di lui anche se non sappiamo chi sia. Ha realizzato solo 5 film in carriera, tutti nominati all'Oscar come miglior film e i cui attori in totale hanno collezionato 15 nomination. Compare in 'Il padrino', 'Il padrino parte II', 'Quel pomeriggio di un giorno da cani', 'Il cacciatore' e 'La conversazione' e in ogni film ha un ruolo importante. Al Pacino ne parla come del suo vero grande maestro, un attore immenso da cui si poteva solo imparare e che riusciva sempre a nascondere se stesso per far recitare meglio gli altri, Meryl Streep è stata sua compagna fino alla precoce morte per cancro ai polmoni poco prima dell'uscita di 'Il cacciatore', Coppola ne parla come del vero autore del personaggio di Fredo, Sidney Lumet ne rimase foglorato e gli attori di oggi lo venerano come un Dio. E' John Cazale, talento misconosciuto di Hollywood. Il documentario di appena una quarantina di minuti girato da Richard Shepard sembra quasi un finto documentario per la sorpresa che coglie lo spettatore nello scoprire che un attore così marginale per il grande pubblico (eppure così fortemente stampato nell'immaginario collettivo) è stata una personalità così importante all'interno della new Hollywood, ovvero quel nucleo di autori e attori che negli anni '70 rivoluzionarono l'industria del cinema americano, riportandola al centro dell'interesse mondiale, con un cinema tutto nuovo.
    [Show full text]
  • Course Summary
    PRELIMINARY COURSE SYLLABUS Course Title: THE NEW HOLLYWOOD: Revolution in American Cinema, 1967 - 1975 Course Code: FLM 146 Instructor: Elliot Lavine Course Summary: This course is designed to provide an overview of the dramatically and often radically reinvigorated American film industry that emerged in the mid-1960s as both an answer to the draconian censorship laws still being applied to films, as well as the rapidly changing political and social landscape occurring at this time. We will watch and discuss some of the more influential films from this exciting period. *Please see course page for full description and additional details. Note About Live Attendance and Recording: These class sessions will be recorded. Live attendance is required to earn Credit. Grade Options and Requirements: • No Grade Requested (NGR) o This is the default option. No work will be required; no credit shall be received; no proof of attendance can be provided. • Credit/No Credit (CR/NC) *Please Note: If you require proof that you completed a Continuing Studies course for any reason (for example, employer reimbursement), you must the Credit/No Credit option. Courses taken for NGR will not appear on official transcripts or grade reports. Tentative Weekly Outline: Please watch the listed films before the class session that week. They can be purchased or rented via YouTube Movies or Amazon, and some might be on services such as Hulu or Netflix. Typically, if you do a Google search for a title, it will display the various streaming options. Here is the tentative list of films we’ll be watching and discussing… Week 1: BONNIE & CLYDE (1967) Arthur Penn’s seminal retelling of the lives of these two desperados was a brash introduction of a new sensibility revolving around sex and violence and the Cinema.
    [Show full text]
  • ​Dog Day Afternoonаа
    th Dog Day Afternoon / 40 ​ Anniversary – Page 1 ​ ​ “A tense classic!” ✮✮✮✮✮ ­ Empire ​ DOG DAY AFTERNOON ​ TH TM 40 ​ Anniversary on Blu­ray ​ from 7th ​ ​ September Includes Director Commentary, Vintage Featurettes and more On September 7th 2015, Warner Bros. Home Entertainment (WBHE) will celebrate director Sidney th Lumet’s Dog Day Afternoon, the explosive drama starring Al Pacino, with a new 40 ​ Anniversary ​ ​ ​ ​ ​ ​ ​ ​ edition Blu­ray available for the first time in the UK. ​ ​ This unique thriller, filled with sardonic comedy and based on a real­life incident, earned six Academy ® 1 Award ​ nominations ​ (including Best Picture) and won an Oscar® for Frank Pierson’s streetwise ​ ® screenplay. John Cazale, Charles Durning (Golden Globe ­​ nominated for their roles) and James ​ Broderick co­star. Pacino and Lumet (collaborators on Serpico) reteam for the drama which currently has a 97% ​ ​ Fresh Rotten Tomatoes® Score. Pacino plays mastermind Sonny and John Cazale is his partner Sal ­ two optimistic nobodies who set out to rob a bank, and unexpectedly create a media circus and a complete disaster. Cazale’s short six­year acting career included only four other films besides Dog Day Afternoon – The ​ ​ ​ Godfather, The Godfather: Part II, The Conversation and The Deer Hunter. In 1978, just after ​ ​ ​ ​ ​ wrapping the latter, Cazale died tragically at age 42 and cinema was robbed of one of its brightest talents. 1 1975 (48th) ACTOR ­­ Al Pacino ​ ​ ​ ACTOR IN A SUPPORTING ROLE ­­ Chris Sarandon DIRECTING ­­ Sidney Lumet FILM EDITING ­­ Dede Allen BEST PICTURE ­­ Martin Bregman and Martin Elfand, Producers *WRITING (Original Screenplay) ­­ Frank Pierson * indicates win th Dog Day Afternoon / 40 ​ Anniversary – Page 2 ​ ​ ABOUT THE FILM On a hot Brooklyn afternoon, two optimistic nobodies set out to rob a bank.
    [Show full text]
  • (XXXVIII:10) Michael Cimino: the DEER HUNTER (1978, 183 Min.) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    April 9, 2019 (XXXVIII:10) Michael Cimino: THE DEER HUNTER (1978, 183 min.) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. DIRECTOR Michael Cimino WRITING Michael Cimino, Deric Washburn, Louis Garfinkle, and Quinn K. Redeker developed the story, and Deric Washburn wrote the screenplay. PRODUCED BY Michael Cimino, Michael Deeley, John Peverall, and Barry Spikings CINEMATOGRAPHY Vilmos Zsigmond MUSIC Stanley Myers EDITING Peter Zinner At the 1979 Academy Awards, the film won Oscars for Best Picture, Best Director, Best Film Editing, Best Actor in a Supporting Role, and Best Sound, and it was nominated for Oscars for Best Actor in a Leading Role, Best Actress in a Supporting Role, Best Writing, and Best Cinematography. CAST Robert De Niro...Michael John Cazale...Stan John Savage...Steven Christopher Walken...Nick was the first of a “spate of pictures. .articulat[ing] the effect on Meryl Streep...Linda the American psyche of the Vietnam war” (The Guardian). George Dzundza...John Cimino won Oscars for Best Picture and Best Directing and was Chuck Aspegren...Axel nominated for Best Writing for The Deer Hunter. The film was Shirley Stoler...Steven's Mother such an artistic and critical accomplishment that he was given Rutanya Alda...Angela carte blanche from United Artists to make his next film, the Pierre Segui...Julien western Heaven’s Gate* (1980). This decision was a serious Mady Kaplan...Axel's Girl blow to Cimino’s directorial career, and it brought about the Amy Wright... Bridesmaid downfall of United Artists, forcing its sale to MGM in 1981 (The Mary Ann Haenel...Stan's Girl Guardian).
    [Show full text]