The Royal Hunt of the Sun Free Download

Total Page:16

File Type:pdf, Size:1020Kb

The Royal Hunt of the Sun Free Download THE ROYAL HUNT OF THE SUN FREE DOWNLOAD Peter Shaffer | 112 pages | 25 Jan 2007 | Penguin Books Ltd | 9780141188881 | English | London, United Kingdom The Royal Hunt of the Sun All rights reserved. Color: Color Technicolor. Parents Guide. There have been numerous suns over the years, but when the play was first staged it was a large metal contraption, with huge 'petals' that opened up and outwards. Royal National Theatre. Archived from the original on 9 June He does The Royal Hunt of the Sun, and is strangled. Hernando de Soto. Director Trevor Nunn makes full use of the large Olivier auditorium; scenes interlace, actors fill every inch of the stage — and occasionally the aisles — and music and mime play a large part in the proceedings. Edit page. Alun Armstrong's Pizarro is a stocky slogger who finds himself almost homo-erotically entranced by Paterson Joseph's muscularly fey and unearthly Atahuallpa. Read more. The conversion attempt fails, however, prompting the Spanish churchman to demand Atahualpa be captured and held for ransom. The expedition The Royal Hunt of the Sun predominantly in the name of gold, religion and belief; all Incas being heathens who must be brought before God. Felipillo as Sam Krauss Percy Herbert The play critically studies these two themes throughout the discovery of Atahualpa — the Inca Sun God — and massacre of the The Royal Hunt of the Sun themselves. Looking for some great streaming picks? They're all something. Hernando de Soto Leonard Whiting You must be a registered user to use the IMDb rating plugin. From Wikipedia, the free encyclopedia. Writers: Peter Shaffer playPhilip Yordan. Colonial America King Carlos agrees and assigns two men to accompany Pizarro The Royal Hunt of the Sun his journey. And Trevor Nunn's Olivier production, staged on Anthony Ward's vast circular disc, is mighty handsome to look at. As the two men develop a friendship, Pizarro grows fonder of Atahualpa. Download as PDF Printable version. The Sun King believes that he is immortal, that death cannot touch him, and Pizarro allows himself to hope that this is The Royal Hunt of the Sun. Drawing his facts largely from Prescott's History of Peru, Shaffer uses the past as a metaphor for mankind's endless colonial instinct. However, as the play progresses and Pizarro suffers a crisis in faith, Old Martin becomes disillusioned, abandoning these values. When the room is finally filled, Pizarro asks Atahualpa to swear to leave his men unharmed, but the king refuses. As the room fills up, Pizarro The Royal Hunt of the Sun Atahualpa become increasingly close. Where the play now seems slightly dated is in its exploration of the growing relationship between Pizarro and Atahuallpa, the Inca sovereign and self-styled sun-god. The main attribute is the image of the sun, which presents a creative challenge for all who undertake this mammoth production. However, the God-king has been warned by his people that the Spanish invasion will lead to disaster. But you are a dreamer. Language: English Quechua. In order to assuage Atahualpa, Pizarro informs the Incan priests that he, too, is a deity. The Spanish invade Peru, hungry for gold. It is narrated or commented upon by Old Martin, a jaded man in his mid-fifties. Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Films of His abundant onstage charisma is such that, whether draped in a feathered cloak or dancing around the stage in a loin cloth he never fails to convince. This awesome picture shows how one peaceful in comparison with the spanish world falls apart, shows how reality strikes and hits You real hard e. What I ask you, Your Majesty, is how The Royal Hunt of the Sun can Spain endure doing nothing? Afterward, Pizarro is inducted into the Incan religion. Atahuallpa Nigel Davenport They are indifferent to its communal values, turn its priceless treasures into liquid gold and see Christianity as an instrument of power. Atahualpa agrees to the deal. He wanted strange and disturbing sounds produced on primitive instruments such as saws, reed pipes, drums tablas and bongos and cymbals to create the aural world of 16th Century Peru. You may not be satisfied at the beginning, but later His unbelievable way of acting goes strictly together as one with the way of thinking, moving, ranting Instead of killing him, Pizarro makes a deal with Atahualpa whereby, if he fills an entire room with objects made from gold in two months, Atahualpa will be set free and will not harm Pizarro. Atahualpa tells Pizarro to allow his Spanish soldiers to carry out their execution of him. Following the massacre of more than 3, Incas, the Spaniards take Atahualpa hostage, murdering his bodyguard. The scenes of the two men discussing each others beliefs and cultures, initially with incredulity, then with growing understanding, are the plays most gripping. Visuals are of the essence with this play, especially the lavish Inca costumes. Sensational film which depicts brutality, hypocrisy, greed. One world dies, as the other one devours Its essence. After many weeks, they climb a mountain to reach the abode of Atahualpa, the king of Incas The Royal Hunt of the Sun also the son of the Sun The Royal Hunt of the Sun. User Ratings. But, while the play was a startling antidote to 60s naturalism, what now seems more interesting is Shaffer's understanding of the imperialist instinct in which the conquest of the Incas becomes a metaphor for modern Iraq. Later, Pizarro confesses to Old Martin that he used to have recurring dreams about the Sun God as a youth. The death of an empire. Instead of being burned at the stake as initially proposed, Pizarro negotiates Atahualpa be executed via strangulation as long as the king agrees to be baptized. Pizarro and his men recruit volunteers to join them on their voyage. The final scenes, where Pizarro stands amid the black-clad and wailing Incas waiting for Atahuallpa to rise again with the morning sun, are as moving as they are striking and strange. .
Recommended publications
  • ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
    ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’S
    1 The Development of the Role of the Actor-Musician in Britain by British Directors Since the 1960’s Francesca Mary Greatorex Theatre and Performance Department Goldsmiths University of London A thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) 2 I hereby declare that the work presented in this thesis is my own. Signed: ……………………………………………. 3 Acknowledgements This thesis could not have been written without the generosity of many individuals who were kind enough to share their knowledge and theatre experience with me. I have spoken with actors, musical directors, set designers, directors, singers, choreographers and actor-musicians and their names and testaments exist within the thesis. I should like to thank Emily Parsons the archivist for the Liverpool Everyman for all her help with my endless requests. I also want to thank Jonathan Petherbridge at the London Bubble for making the archive available to me. A further thank you to Rosamond Castle for all her help. On a sadder note a posthumous thank you to the director Robert Hamlin. He responded to my email request for the information with warmth, humour and above all, great enthusiasm for the project. Also a posthumous thank you to the actor, Robert Demeger who was so very generous with the information regarding the production of Ninagawa’s Hamlet in which he played Polonius. Finally, a big thank you to John Ginman for all his help, patience and advice. 4 The Development of the Role of the Actor-Musician in Britain by British Directors During the Period 1960 to 2000.
    [Show full text]
  • Dd Shrewstudyguide.Pdf
    HOFSTRA UNIVERSITY DEPARTMENT OF DRAMA AND DANCE THE TAMING OF THE SHREW William Shakespeare STUDY GUIDE Written and compiled by James J. Kolb, Professor of Drama HOFSTRA/DRAMA 1997 A Study Guide to Hofstra University’s Department of Drama and Dance Production of The Taming of the Shrew by William Shakespeare March 1997 Table of Contents The New Cambridge Shakespeare version of The Taming of the Shrew, edited by Ann Thompson, is the text used in the About Shakespeare 2 current production. It is published in paperback by Cambridge University Press, 40 West 20th Street, New York, Title Page of the First Folio Edition New York 10011-4211 of Shakespeare’s Plays 2 ISBN # 0 521 29388 X ($10.95) Shakespeare’s Coat of Arms 3 Shakespeare’s Plays 3 Shakespeare’s Theatre 4 HOFSTRA/DRAMA Department of Drama and Dance Summary of the Story 5 Hofstra University (516) 463-5444 The Sources of the Story 5 The Date of Composition and Special Problems With the Text of The Taming of the Shrew As Related to The Taming of a Shrew 6 A Few Critical Comments 7 The cover engraving is taken from James Edmund Harting’s About the Play on Stage 10 The Birds of Shakespeare (1871). It depicts hawks in training being carried to the field in “the cadge,” carried by “the Notable Lines 15 cadger.” See page 8 of the Study Guide for some additional comments about falconry. About the Play in Other Forms 16 The idea and format of this study guide is by Peter Sander.
    [Show full text]
  • J C Trewin Papers MS 4739
    University Museums and Special Collections Service J C Trewin Papers MS 4739 The collection contains both personal papers and material collected by Trewin relating to the English stage. The latter includes theatre programmes 1906-1989, theatre posters 1783-1936, photographs (original and reproduction) of productions 1905-1970, issues of theatrical periodicals 1906-1986, albums of press cuttings, and other miscellaneous material. There are also letters collected by Trewin to and from Constance and Frank Benson, and eighteen letters and postcards (three original and fifteen facsimile) from George Bernard Shaw. The personal material includes many letters written to Trewin over the course of his career on theatrical and literary subjects. Major correspondents (with more than ten letters) include Enid Bagnold, Guy Boas, Charles Causley, Christopher Fry, Val Gielgud, Paul Scofield, Robert Speaight and Ben Travers. Other correspondence includes letters of congratulation on the presentation of Trewin's OBE in 1981, and letters of condolence written to Wendy Trewin on the death of her husband. There is also material relating to Trewin's biography of Robert Donat and a legal dispute with the playwright Veronica Haigh which arose from it. The collection contains drafts and typescripts of some of Trewin's work, over fifty notebooks, and drafts of an account by Trewin's father of his early years at sea. The Collection covers the year’s 1896-1990. MS 4739/1/1 Letter from Constance Benson (wife of Shakespearian actor Frank) to Mr Neilson. 22 September, undated 1 file MS 4739/1/2 Letter from Constance Benson to Sir Archibald Flower, of the Stratford brewing family who were supportive of the early Stratford theatres.
    [Show full text]
  • OLIVER TWIST, Turning Charles Dickens’ Timeless Adventure About an Orphan Boy Into a Thrilling and Humorous Tale of Good Fighting Evil
    Academy Award®-winning filmmaker Roman Polanski (“The Pianist”) brings his rich, imaginative cinematic vision to one of literature’s classic stories with OLIVER TWIST, turning Charles Dickens’ timeless adventure about an orphan boy into a thrilling and humorous tale of good fighting evil. From the wretched environs of a cruel workhouse system to the teeming streets of a newly industrialized London and its twin strata of poverty-ridden desperation and moneyed comfort, Dickens immortalized youthful peril and triumphant survival in his legendary novel. Along the way he gave us such memorable characters as the street gang leader Fagin, the fleet-footed pickpocket artist the Artful Dodger, the pompous Mr. Bumble, and the notorious criminal Bill Sykes. Now, one of the movies’ great visionaries, behind such pulsing masterworks as Rosemary’s Baby and Chinatown, offers up his version – the first feature adaptation in over 35 years – and the streets of 19th century London come alive in all their vividness, danger and unexpected goodness. After an extensive search, Polanski chose 11-year-old London schoolboy Barney Clark in the all-important title role. A student of The Anna Scher Theatre, a world-renown community theatre in Islington, London, Clark has previously appeared in the film The Lawless Heart, the British wartime television drama “Foyle’s War” and the television Court drama “The Brief”. With Ben Kingsley as Fagin, a host of talented British character actors have been cast to bring this Dickens classic to life: Jamie Foreman is Bill Sykes, Leanne Rowe is Nancy, Ian McNeice is Mr. Limbkins, Edward Hardwicke is Mr.
    [Show full text]
  • July 2012 at BFI Southbank
    12/31 July 2012 at BFI Southbank Christopher Nolan season The Vanishing Screenplay: Jean-Claude Carrière Masters of Japanese Cinema: Kaneto Shindo & Kozaburo Yoshimura Part Two Patricio Guzmán: The Power of Memory The Aristocracy on TV The Lacey Rituals: Films by Bruce Lacey & Friends Seasons: x Christopher Nolan This season showcases the rapid rise of Christopher Nolan, from his modest debut feature Following (1998) and breakthrough hit Memento (2000) to his current position as a hugely powerful Hollywood director of blockbusters such as Inception (2010) and the hugely anticipated The Dark Knight Rises (2012). x Two Masters of Japanese Cinema: Kaneto Shindo & Kozaburo Yoshimura Part Two Part Two of the season concentrates on Yoshimura’s output from his later years at Daiei in the 1950s and 60s. Shindo’s career as director and writer extended to 2010. He sadly passed away in May 2012 and this season will be the first world retrospective of Shindo’s work. The season will include screenings of Onibaba (1964) and Kuroneko (1968), still arguably Shindo’s best known films in the West. x The Vanishing Screenplay: Jean-Claude Carrière The season focuses on the career of Jean-Claude Carrière - a screenwriter, but also a novelist and essayist, cartoonist and sometime director and actor. His screenplays underpin some of the great international films of the late 20th century (Belle du Jour, 1967; The Tin Drum, 1979 and Cyrano de Bergerac, 1990). x Extended Run: The Discreet Charm of the Bourgeoise (Dir Luis Buñuel 1979) NEW PRINT 1-12 July Newly restored for its fortieth anniversary, this sly, slippery comedy of bourgeois manners remains one of the finest achievements of Luis Buñuel’s dazzlingly creative late period.
    [Show full text]
  • SZÍNHÁZ Irving Wardle: Az Átfésült Sweeneynek Élesebb a Borotvája Independent on Sunday, 1993
    zul később az önkorbácsoló voyeur és a grand guignol-beli szörnyeteg fintoraiba. Figyelmet ér- demel Barry James is, akinek altisztjére Dickens is büszke lett volna. LONDONI NEMZETI SZÍNHÁZ Irving Wardle: Az átfésült Sweeneynek élesebb a borotvája Independent on Sunday, 1993. jún. 6. SONDHEIM-WHEELER: SWEENEY TODD 1981-ben a Drury Lane-en a vérgőzös grand- guignol szellemesség és a búvópatakszerű tár- lái úgy surrognak, mint a végzet óraütései, a ze- sadalmi problematika mind eltemetődött a A kritikai visszhangból ne előre lendíti a cselekményt, s egyszersmind „showbiz" lakkrétege alatt. Most Declan Donnel- annak jellegét is megadja a gyerekkori rigmusok lannak sikerült (lekaparnia a rossz minőségű ken- Stephen Sondheim sötét, briliáns és parodisztikus visszhangjával, a londoni utca zsi- cét, és az egész szerkezetet a csontvázára csu- vérfagyasztó musicalje egy szín alatt komédia, vajával és a dies irae-vel. Bármennyi forrásból paszítania. (Sajnálom, hogy rossz vicceket kell melodráma és maróan gunyoros merít is ez a zene, mégis elsőrendűen e színjá- elsütnöm, de az ember nehezen vonja ki magát a társadalompszichológia. Aki ezt a receptet tékhoz tartozik, és az ember szinte érzi szájában pikáns és pajzán vérfagyasztás hatása alól.) És valószerűtlennek érzi, menjen el a Cottesloe-ba, az ízét. most döbbenünk csak rá, micsoda különleges ahol a mű természetes otthonára lelt. Azt A túldíszített és alulnépesített Drury Lane-beli remekművet alkotott Stephen Sondheim. hiszem, a tizennégy évvel ezelőtti londoni változathoz képest az első különbség, hogy Jack Tinker: Borotvaéles élmény bemutató csak azért nem volt igazi siker, mert a Donnellan a kórust beleolvasztja a környezetbe. Daily Mail, 1993. jún. 3. mű elveszett a Drury Lane hatalmas üregében; Kezdetben esti sokaságként találkozunk velük, itt viszont Sondheim fürge szelleme és tövises, amint ki-ki siet a maga útjára, és eközben úgy elegáns intelligenciája közelről élvezhető.
    [Show full text]
  • The Cambridge Companion to Christopher Marlowe Edited by Patrick Cheney Frontmatter More Information
    Cambridge University Press 0521527341 - The Cambridge Companion to Christopher Marlowe Edited by Patrick Cheney Frontmatter More information The Cambridge Companion to Christopher Marlowe The Cambridge Companion to Christopher Marlowe provides a full introduc- tion to one of the great pioneers of both the Elizabethan stage and modern English poetry. It recalls that Marlowe was an inventor of the English history play (Edward II) and of Ovidian narrative verse (Hero and Leander), as well as being author of such masterpieces of tragedy and lyric as Doctor Faustus and ‘The Passionate Shepherd to His Love’. Seventeen leading scholars provide accessible and authoritative chapters on Marlowe’s life, texts, style, politics, religion, and classicism. The volume also considers his literary and patronage relationships and his representations of sexuality and gender and of geography and identity; his presence in modern film and theatre; and finally his influence on subsequent writers. The Companion includes a chronology of Marlowe’s life, a note on reference works, and a reading list for each chapter. © Cambridge University Press www.cambridge.org Cambridge University Press 0521527341 - The Cambridge Companion to Christopher Marlowe Edited by Patrick Cheney Frontmatter More information Portrait (putative) of Christopher Marlowe. Courtesy of the Master and Fellows of Corpus Christi College, Cambridge. The College cannot vouch for the identity of the portrait. © Cambridge University Press www.cambridge.org Cambridge University Press 0521527341 - The Cambridge
    [Show full text]
  • RSC Shakespeare Toolkit for Teachers Thanks to a Grant from the Department for Education
    IMAGE CREDITS IN ORDER OF APPEARANCE: David Tennant in Richard II by Kwame Lestrade. Shakespeare’s 450th Birthday Fireworks by Lucy Barriball. The cast of As You Like It by Keith Pattison. The cast of Richard II by Kwame Lestrade. Technical rehearsal for Live From Stratford-upon-Avon by Lucy Barriball. Lydia Leonard in Bring Up the Bodies by Keith Pattison. Camille O’Sullivan in The Rape of Lucrece by Keith Pattison. Anjana Vasan talking to students at First Encounter: The Taming of the Shrew tour by Simon Annand. Matilda Write Here Write Now by Manuel Harlan. Sam Swann and Charlotte Mills in Wendy & Peter Pan by Manuel Harlan. Audience member streaming A Midsummer Night’s Dreaming by Kwame Lestrade. The cast of The Empress by Steve Tanner. ROYAL SHAKESPEARE COMPANY Greg Hicks and Joanna Horton in All’s Well That Ends Well WATERSIDE by Ellie Kurttz. Ellie Beaven in STRATFORD-UPON-AVON A Mad World My Masters WARWICKSHIRE by Manuel Harlan. Jo Stone-Fewings in The Winter’s Tale CV37 6BB by Sheila Burnett. egistered Charity No. 212481 Audience members R applauding Candide by Sasha Gusov. Income and Expenditure: Matilda The Musical +44 (0)1789 296655 by Manuel Harlan. The cast of Candide www.rsc.org.uk by Manuel Harlan. EDITORIAL Find us on Facebook Review compiled and www.facebook.com/theRSC edited by Jane Ellis. DESIGN Follow us on Twitter Designed by Graham Rolfe, www.twitter.com/theRSC RSC Visual Communications. We have had a great year, bringing the very best in live theatre to audiences across the world.
    [Show full text]
  • Richard II, Henry IV Part I & II, Henry V
    The Hollow Crown Season 1 Richard II, Henry IV Part I & II, Henry V Season 2 – The War of the Roses Henry VI Part I & II, Richard III Commissioned by the BBC and WNET / PBS 2016 will mark the 400th anniversary of Shakespeare’s death. The Hollow Crown brings Shakespeare’s history plays together as one narrative arc for the first time. These rich films tell the story of a succession of English monarchs, who were heroes and villains in equal measure, during a particularly turbulent and bloody period of English history. ‘Uneasy lies the head that wears a crown’ Henry IV The Hollow Crown Cast Highlights: Season 1 & 2 Benedict Dame Judi Dench Hugh Bonneville Michelle Dockery Jeremy Irons Clémence Poésy James Purefoy Cumberbatch James Bond: Skyfall, Downton Abbey, Downton Abbey, The Lion King, Die Hard: Harry Potter and the Rome, The Following, Sherlock, The Imitation The Best Exotic Paddington, Notting Hill Non-Stop, Hanna With a Vengeance, Deathly Hallows: Part 2, The Philanthropist, Game, Star Trek Into Marigold Hotel, The Man in the Iron Mask 127 Hours, In Bruges A Knight’s Tale Darkness, The Hobbit: Shakespeare in Love The Desolation of Smaug Patrick Stewart Julie Walters Ben Whishaw John Hurt Sophie Okenedo David Suchet Star Trek: The Next Brave, Harry Potter, James Bond: Skyfall, V for Vendetta, After Earth, Agatha Christie: Generation, X-Men: Calendar Girls, London Spy, The Hour Alien, Merlin, Hotel Rwanda, Poirot, Great Days of Future Past Billy Elliot The Elephant Man The Escape Artist Expectations Richard II King Richard (Ben Whishaw) is called upon to settle a dispute between his cousin Henry Bolingbroke (Rory Kinnear) and Thomas Mowbray (James Purefoy).
    [Show full text]