Young Frankenstein the New Mel Brooks Musical
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Buck Henry, Who Helped Create ʻget Smartʼ and Adapt ʻthe Graduate,ʼ Dies at 89 an Unassuming Screenwriter and Actor, Mr
1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times https://nyti.ms/2N7atsQ Buck Henry, Who Helped Create ʻGet Smartʼ and Adapt ʻThe Graduate,ʼ Dies at 89 An unassuming screenwriter and actor, Mr. Henry thought up quirky characters with Mel Brooks and inhabited many more on “Saturday Night Live.” By Bruce Weber Published Jan. 9, 2020 Updated Jan. 10, 2020 Buck Henry, a writer and actor who exerted an often overlooked but potent influence on television and movie comedy — creating the loopy prime-time spy spoof “Get Smart” with Mel Brooks, writing the script for Mike Nichols’s landmark social satire “The Graduate” and teaming up with John Belushi in the famous samurai sketches on “Saturday Night Live” — died on Wednesday in Los Angeles. He was 89. His wife, Irene Ramp, said his death, at Cedars-Sinai Medical Center, was caused by a heart attack. John Belushi, left, and Mr. Henry in the 1978 “Saturday Night Live” sketch “Samurai Optometrist.” Fred Hermansky/NBCUniversal via Getty Images As a personality and a performer, Mr. Henry had a mild and unassuming aspect that was usually in contrast with the pungently satirical or broadly slapstick material he appeared in — and often wrote. Others in the room always seemed to make more noise. https://www.nytimes.com/2020/01/09/movies/buck-henry-dead.html 1/6 1/11/2020 Buck Henry, Who Helped Create ‘Get Smart’ and Adapt ‘The Graduate,’ Dies at 89 - The New York Times Indeed, for almost 50 years he was a Zelig-like figure in American comedy, a ubiquitous if underrecognized presence not only in grand successes but also in grand failures. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
(XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
October 22, 2019 (XXXIX:9) Mel Brooks: BLAZING SADDLES (1974, 93m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Mel Brooks WRITING Mel Brooks, Norman Steinberg, Richard Pryor, and Alan Uger contributed to writing the screenplay from a story by Andrew Bergman, who also contributed to the screenplay. PRODUCER Michael Hertzberg MUSIC John Morris CINEMATOGRAPHY Joseph F. Biroc EDITING Danford B. Greene and John C. Howard The film was nominated for three Oscars, including Best Actress in a Supporting Role for Madeline Kahn, Best Film Editing for John C. Howard and Danford B. Greene, and for Best Music, Original Song, for John Morris and Mel Brooks, for the song "Blazing Saddles." In 2006, the National Film Preservation Board, USA, selected it for the National Film Registry. CAST Cleavon Little...Bart Gene Wilder...Jim Slim Pickens...Taggart Harvey Korman...Hedley Lamarr Madeline Kahn...Lili Von Shtupp Mel Brooks...Governor Lepetomane / Indian Chief Burton Gilliam...Lyle Alex Karras...Mongo David Huddleston...Olson Johnson Liam Dunn...Rev. Johnson Shows. With Buck Henry, he wrote the hit television comedy John Hillerman...Howard Johnson series Get Smart, which ran from 1965 to 1970. Brooks became George Furth...Van Johnson one of the most successful film directors of the 1970s, with Jack Starrett...Gabby Johnson (as Claude Ennis Starrett Jr.) many of his films being among the top 10 moneymakers of the Carol Arthur...Harriett Johnson year they were released. -
Pearson English Active Reading Level 3: Frankenstein 9781292121512
CHAPTER 1 Young Frankenstein I was interested in the secrets of the sky and the earth, of the natural world. y name is Victor Frankenstein. I come from Geneva, in Switzerland, and M my family is one of the most important in that country. When I was very young, my parents travelled a lot. I was their only child, and they took me with them. My parents were kind and they loved me very much. My earliest memories are happy ones. When I was about five years old, we stayed for a week at Lake Como in Italy. My mother was a kind woman and visited a poor family on a farm. They had five children. Four had dark hair like the man and his wife, but the other child, a girl, had fair hair and looked quite different. The farmer’s wife told my mother the child’s history. The girl’s name was Elizabeth Lavenza, and she was the daughter of a rich man from Milan. Her mother died when she was born. Elizabeth’s father died too, trying to free his country from a bad government. He lost everything – his house and his money. It was all taken away. Hispages child was left with this family. My mother wanted to have another child very much. And she wanted a daughter. When she saw Elizabeth, she loved her immediately. She wanted to bring Elizabeth up as her own child. She talked to the farmer and his wife about her idea. The farmer and his wife loved the girl, but they agreed. -
JGP Vol 2 No 2.Pdf
ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ Journal of Gender and Power Vol. 2, No. 2, 2014 POZNAŃ 2014 Journal of Gender and Power is aimed at providing an international forum for discussing vari‐ ous issues and processes of gender construction. It is a scholarly, interdisciplinary journal, which features articles in all fields of gender studies, drawing on various paradigms and ap‐ proaches. We invite scholars to submit articles and reviews reporting on theoretical considera‐ tions and empirical research. Journal of Gender and Power is published by Faculty of Educational Studies, Adam Mickiewicz University (Poznań – Poland). Editorial Board Editor‐in‐Chief Agnieszka Gromkowska‐Melosik Adam Mickiewicz University, Poland Editorial Assistant Michał Klichowski Adam Mickiewicz University, Poland Cecilia Åsberg (Linköping University, Sweden), Zygmunt Bauman (University of Leeds, England), Francesca Bettio (University of Siena, Italy), Mary Blair‐Loy (University of California, USA), Doris Chang (Wichita State University, USA), Miranda Christou (University of Cyprus, Cyprus), Lorraine Dowler (Pennsylvania State University, USA), Catherine Driscoll (University of Sydney, Australia), Virgínia Ferreira (University of Coimbra, Portugal), Eva Fodor (Central European University, Hungary), Eleanor Gordon (University of Glasgow, Scotland), Lawrence Grossberg (University of North Carolina at Chapel Hill, USA), Anita Harris (Monash University, Australia), Beata Kowalska (Jagiellonian University in Cracow, Poland), Michael A. Messner (University of Southern -
Frankenstein in Mary Shelley’S Novel “Frankenstein”
A DESCRIPTION OF THE MAIN CHARACTER OF FRANKENSTEIN IN MARY SHELLEY’S NOVEL “FRANKENSTEIN” A PAPER WRITTEN BY RAHMA KESUMA ANJANI REG. NO: 152202056 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN 2018 UNIVERSITAS SUMATERA UTARA It has been Approved by Supervisor, Dra. Diah Rahayu Pratama. M.Pd NIP. 195612141986012001 Submitted to Faculty of Culture Study. University of North Sumatera in partial fulfillment of the requirements for Diploma III in English Study Program. Approved by Head of Diploma III English Study Program, Dra. Swesana Mardia Lubis. M.Hum NIP. 19571002 198601 2 003 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of North Sumatera. UNIVERSITAS SUMATERA UTARA As a Paper for the Diploma III Examination Accepted by the Board of Examiners in partial of the requirements for the D-III Examination of the Diploma III English Study Program, Faculty of Culture Study, University of North Sumatera. The examination is held 10th January 2018 Faculty of Culture Study University of North Sumatera Board of Examination : 1. Dra. Swesana Mardia Lubis. M.Hum 2. Dra. Diah Rahayu Pratama. M.Pd 3. Riko Andika Rahmat Pohan. S.S. M.Hum UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, RAHMA KESUMA ANJANI, declare that I am the sole author of this paper. Except where reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person‟s work has been used without due acknowledgement in the main text of this paper. -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
THE PRODUCERS Book by Mel Brooks and Thomas Meehan Music and Lyrics by Mel Brooks
THE PRODUCERS Book by Mel Brooks and Thomas Meehan Music and Lyrics by Mel Brooks Garland Summer Musicals Production Crew: Producer – Patty Granville Reviewed Performance 6/16/2017 Reviewed by Joel Gerard, Associate Critic for John Garcia's THE COLUMN If you’ve ever seen a Mel Brooks movie, then you should know what to expect from anything he writes. The Producers has raunchy humor with slightly offensive jokes about every race, sex, and religion. But above all else it’s also hilarious and fun. It won a record twelve Tony awards on Broadway, and Garland Summer Musicals is doing an award-worthy production right here in North Texas. The Producers is a musical Mel Brooks wrote based on his own movie “The Producers” from 1967 which starred the late Gene Wilder. Max Bialystock used to be the king of Broadway, but most of his shows are now flops that close as soon as they open. Max gets a visit from his accountant Leo Bloom who discovers that Max could potentially make more money from producing show that flops if he raises more money than he needs to produce the show. To ensure the show closes quickly, they collaborate to find an awful musical called “Springtime For Hitler”, hire a terrible director, and wait to pocket the money once the show fails. Of course things don’t go exactly as planned after opening night. Randy Pearlman plays Max Bialystock the down-on-his-luck Broadway producer looking to make some money. This is a fun role for any actor. Max is a zany character with questionable morals. -
Why LAUGHTER on the 23RD FLOOR? by David Cecsarini
volume 30, issue 2 30, volume 2019 november “ Why LAUGHTER ON THE 23RD FLOOR? by David Cecsarini Twenty-one years ago, HE COULD DO ANYTHING as we were preparing our Sid Caesar was a tall, strapping, staged reading of Neil Simon’s rubber-faced acting powerhouse LAUGHTER ON THE 23RD FLOOR, whose bottomless comedic in- I was introduced to the singu- vention found expression through lar and colossal comedic genius, fluid movement and superb vocal Sid Caesar. Simon was a rookie acrobatics. Sifting through the writer for Caesar in 1953, and his many video recordings of Your play is a loving tribute to the cra- Show of Shows or Caesar’s Hour, ziest writers’ room in television. the breadth and depth of his cre- I had some vague notion of who ative talents are simply astonish- Sid Caesar was and that he did ing. Though his natural Brooklyn a 90-minute live comedy broad- accent colored many of Caesar’s cast, Your Show of Shows, back Sid Caesar characterizations, he was also a in early TV. But the immersion fokkers vas Messerschmitts!” I master of other accents, includ- course of specific study, as often can remember us watching the ing the utterance of approximate happens in our business, brought 60s TV comedy Hogan’s Heroes, foreign languages known as dou- Isaac Sidney Caesar into full fo- with wonderful actors John Ban- ble talk. French, German, Italian, cus, context and prominence ner and Werner Klemperer taking Russian, Japanese: he could carry within the pioneering world of it on the chin for the Luftwaffe. -
Starlog Magazine Issue
'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws: -
HAROLD and LILLIAN Press
HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY A film by Daniel Raim 101 minutes WORLD PREMIERE – 2015 Cannes Film Festival SALES CONTACT: Submarine Entertainment Josh Braun [email protected] +1 (917) 687-3111 FILMMAKER CONTACT: Daniel Raim [email protected] +1 (323) 697-2887 2 HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY LOGLINE The inspiring love story between storyboard artist Harold Michelson and film researcher Lillian Michelson spanned sixty years, during which they created some of Hollywood’s most iconic examples of visual storytelling. 3 HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY SYNOPSIS He was a wisecracking World War II vet. She was an orphan, his kid sister’s best friend. Harold and Lillian eloped to Hollywood, where they became the film industry’s secret weapons. Nobody talked about them, but everybody wanted them. Theirs is the greatest story never told—until now. Academy Award–nominated Director Daniel Raim (The Man on Lincoln’s Nose) and Executive Producer Danny DeVito (Pulp Fiction, Man on the Moon) present HAROLD AND LILLIAN: A HOLLYWOOD LOVE STORY, a fascinating and deeply moving account of the romantic and creative partnership between storyboard artist Harold Michelson (1920–2007) and his wife, film researcher Lillian Michelson (b. 1928)—a talented and generous couple once considered to be the heart of the industry. For sixty tumultuous years, Harold and Lillian weathered personal and professional setbacks while working on hundreds of films, many of them now classics, including The Ten Commandments, The Apartment, The Birds, Who’s Afraid Of Virginia Woolf?, The Graduate, Rosemary’s Baby, Fiddler On The Roof, Star Trek: The Motion Picture, Scarface, Full Metal Jacket. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE