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Gb 1456 Thomas
GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production. -
Frances Gray – Interview Transcript
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frances Gray – interview transcript Interviewer: Kate Dorney 27 June 2005 Writer and theatre-goer, Senior Lecturer at Sheffield University. John Arden; Armstrong's Last Goodnight; Alan Aykbourne; Brenton Bond; Michael Boyd; Bertold Brecht's plays; Brimstone and Treacle; Peter Brook; Chichester Festival Theatre; The Crucible Theatre, Shefffield; Steve Daldry; Peter Daubeny's international theatre seasons; Flourish; Marat/Sade; The National Theatre; Laurence Olivier; Othello; John Osborne; programmes; published plays; radio; Royal Hunt of the Sun; Royal Shakespeare Company; Shakespeare; Maggie Smith; theatre-going; Mary Ure; US; David Warner KD: This is Kate Dorney interviewing Frances Gray for the British Library Theatre Archive. Frances, would you care to give your consent for this being deposited in the Sound Archive of the British Library? FG: Yes. KD: OK, I wondered if you could tell me a little bit about your general experience of theatre. FG: I think it started when I was about eleven and we did Midsummer Night’s Dream, and that got me hooked on Shakespeare and on theatre in general and I remember desperately wanting to be a director and not knowing how you did that from a girl’s grammar school in Portsmouth. The only stuff to go and see - other than what we made ourselves - were the local amateurs on the pier, and our local amateurs were noted for doing every single play of Shakespeare - they were going for some sort of record and I hit Titus Andronicus year which was huge fun because they had obviously seen the Peter Brook one, the one where Brook brought Lavinia on with great swathes of red velvet on the wrists. -
October 31, 2006 XIII:9 the Day of the Jackal (1973) 145 Min Directed By
October 31, 2006 XIII:9 The Day of the Jackal (1973) 145 min Directed by Fred Zinnemann Based on the novel by Frederick Forsyth Screenplay by Kenneth Ross Produced by John Woolf Original Music by Georges Delerue Cinematography by Jean Tournier Film Editing by Ralph Kemplen Edward Fox...The Jackal Raymond Gérôme...Flavigny Terence Alexander...Lloyd Barrie Ingham...St. Clair Michel Auclair...Col. Rolland Derek Jacobi...Caron Alan Badel...The Minister Michael Lonsdale...Lebel Tony Britton...Insp. Thomas Jean Martin...Wolenski Denis Carey...Casson Ronald Pickup...The Forger Adrien Cayla-Legrand...President Gen.Charles De Eric Porter...Col. Rodin Gaulle Anton Rodgers...Bernard Cyril Cusack...The Gunsmith Delphine Seyrig...Colette de Montpelier Maurice Denham...Gen. Colbert Donald Sinden...Mallinson Vernon Dobtcheff...The Interrogator Jean Sorel...Bastien-Thiry Jacques François...Pascal David Swift...Montclair Olga Georges-Picot...Denise Timothy West...Berthier FRED ZINNEMANN (29 April 1907, Vienna, Austria—14 March 1997, London, England, heart attack) was nominated for 9 best director Oscars (Julia 1977, A Man for All Seasons 1966 WON, The Sundowners 1960, The Nun’s Story 1959, From Here to Eternity 1953 WON, High Noon 1952, and The Search 1948), 1 best documentary Oscar (Benjy 1951, WON), and 1 best picture Oscar (The Sundowners 1960). Some of his other films were Five Days One Summer (1982), Behold a Pale Horse (1964), A Hatful of Rain (1957), Oklahoma! (1955), The Member of the Wedding (1952), The Men (1950), The Seventh Cross (1944), While America Sleeps (1939), and Menschen am Sonntag (1930). EDWARD FOX (13 April 1937, London, England) has acted in 83 films and television programs. -
Handsworth Songs and Touch of the Tarbrush 86
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/35838 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Voices of Inheritance: Aspects of British Film and Television in the 1980s and 1990s Ian Goode PhD Film and Television Studies University of Warwick Department of Film and Television Studies February 2000 · ~..' PAGE NUMBERING \. AS ORIGINAL 'r , --:--... ; " Contents Acknowledgements Abstract Introduction page 1 1. The Coupling of Heritage and British Cinema 10 2. Inheritance and Mortality: The Last of England and The Garden 28 3. Inheritance and Nostalgia: Distant Voices Still Lives and The Long Day Closes 61 4. Black British History and the Boundaries of Inheritance: Handsworth Songs and Touch of the Tarbrush 86 5. Exile and Modernism: London and Robinson in Space 119 6. Defending the Inheritance: Alan Bennett and the BBC 158 7. Negotiating the Lowryscape: Making Out, Oranges Are Not the Only Fruit and Sex, Chips and Rock 'n' Roll 192 Conclusion 238 Footnotes 247 Bibliography 264 Filmography 279 .. , t • .1.' , \ '. < .... " 'tl . ',*,. ... ., ~ ..... ~ Acknowledgements I would like to express my gratitude to my supervisor Charlotte Brunsdon for her patience, support and encouragement over the course of the thesis. I am also grateful to my parents for providing me with both space and comfortable conditions to work within and also for helping me to retain a sense of perspective. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Alec Guinness
JULY 14 GAZETTE ■20 Vol. 42, No. 7 CZECH THAT FILM HONEYMOON, July 27, 30 Complete schedule FREE SCHEDULE ■ NOT FOR SALE ■ For more information, on page 3 ALSO: Alec Guinness visit us online at: www.siskelfilmcenter.org $11 General Admission, $7 Students, $6 Members ■ To receive weekly updates and special offers, join our FOLLOW US! Join our email list email list at www.siskelfilmcenter.org at www.siskelfilmcenter.org CHICAGO PREMIERE! 2013, Nicholas Wrathall, USA, 89 min. “Entertaining...a thorough, skillfully assembled chronology of the life and times of this all-around man of letters and public gadfly.” —Stephen Holden, The New York Times It would be difficult to find a more fascinating (or July 4th-appropriate) documentary subject than Gore Vidal. Provocative, insightful, eminently quotable, and unfailingly candid, with footholds July 4—10 in the worlds of literature, movies, politics, and sexual politics, Vidal (“I Fri. at 4:45 pm and 7:00 pm; never miss a chance to have sex or appear on television”) embodied Sat. at 6:30 pm and 7:45 pm; the role of public intellectual as fully as any American of the past Sun. at 3:00 pm and 5:30 pm; century. New full-access footage of the still-vital Vidal in the years Mon. at 6:00 pm and 7:45 pm; before his 2012 death provides the framework for a look-back into an Tue. and Thu. at 7:45 pm; incredibly rich life. DCP digital. (MR) Wed. at 6:00 pm CHICAGO PREMIERE! ANNIE O’NEIL IN PERSON! FIRST 2013, Lydia Smith, USA/Spain, 84 min. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Participation List 2011
THE UNIVERSITY INTERSCHOLASTIC LEAGUE P. O. BOX 8028 AUSTIN, TEXAS 78713-8028 ONE-ACT PLAY ENTRIES 2010-2011 Listed in Alphabetical Order by Town/School 1218 SENIOR HIGH SCHOOLS PARTICIPATING SCHOOL PLAY DIRECTOR OF RECORD A ABBOTT HS Leading Ladies T ravis W alker ABERNATHY HS Voices Robin Y oungblood ABILENE COOPER HS Moon Over Buffalo T im Haynes ABILENE HS Much Ado About Nothing Clay Freeman ABILENE WYLIE HS And The Rain Came To Mayfield Gina Aplin ACKERLY SANDS HS Flowers for Algernon T ana Howard ADRIAN HS Double Date Michael Norrell AFTON PATTON SPRINGS HS Necessary Targets Cristy McClenny AGUA DULCE HS Sylvia Elizabeth W allek ALBA ALBA-GOLDEN HS Medea Terri Dievendorf ALBANY HS Alice in Wonderland Greta J. W aldrip ALEDO HS Glory Days Collard Christy ALICE HS Turandot Darleen T otten ALIEF ELSIK HS The Heiress James J. W atkins ALIEF HASTINGS HS One Flew Over the Cuckoo's Nest Connie Rudd ALIEF KERR HS Rosencrantz and Guildenstern are Dead Julie M. R yan ALIEF TAYLOR HS Home Fires Roxanna S. Barnes ALLEN HS The Bald Soprano Carrie L .Howell ALPINE HS Asylum Jim Lee ALTAIR RICE HS The Elephant Man Brennan W . Jobe ALTO HS The Terezin Promise Erin McClendon ALVARADO HS The Madwoman of Chaillot JoAnn Gracey ALVIN HS Blood Wedding Laurie Reese AMARILLO CAPROCK HS Antigone Linda F . Fer guson AMARILLO HIGHLAND PARK HS The Ash Girl Patricia A. Cowden AMARILLO HS Jane Eyre Jerry B. McFarland AMARILLO PALO DURO HS The Dead Guy Shannon J. Mashburn AMARILLO RIVER ROAD HS Mariner King Hill AMARILLO TASCOSA HS Epic Proportions Robin Downs AMHERST HS The Small World of Millie McIvor Melanie M. -
ANNA KARENINA on the LARGE and SMALL SCREEN Peter Cochran
1 ANNA KARENINA ON THE LARGE AND SMALL SCREEN Peter Cochran Edmund Goulding, 1927; Clarence Brown, 1935; Julien Duvivier, 1948; Rudolph Cartier, 1961; Alexandr Zarkhi, 1967; Basil Coleman, 1977; Simon Langton, 1985; Bernard Rose, 1997; David Blair, 2000; Sergei Solovyov, 2005; Joe Wright, 2012 It seems impossible to make a fully-balanced film or television version of Tolstoy’s Anna Karenina . Despite the film-makers’ best intentions, something always goes wrong. The main problem is that the films are, for the most part, two hundred years behind Tolstoy in moral complexity, and in frankness about love, sex, and human relations. Not until the year 2000 do they catch up with him. As a result, most early twentieth-century films represent, not a reaction to Tolstoy, but a deflection of attention away from him. The novel is either a beautiful tale of doomed romance, or a dissection of the way the female sexual impulse wreaks havoc if given too loose a rein … or both. Most films opt for the former interpretation, as more marketable. There are some things which novels can do but which films can’t: At the very moment when Vronsky thought that now was the time to overtake Mahotin, Frou-Frou herself, understanding his thoughts, without any incitement on his part, gained ground considerably, and began getting alongside of Mahotin on the most favorable side, close to the inner cord. Mahotin would not let her pass that side. Vronsky had hardly formed the thought that he could perhaps pass on the outer side, when Frou-Frou shifted her pace and began overtaking him on the other side. -
Shylock : a Performance History with Particular Reference to London And
University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. CHAPTER 1 SHYLOCK & PERFORMANCE Such are the controversies which potentially arise from any new production of The Merchant of Venice, that no director or actor can prepare for a fresh interpretation of the character of Shylock without an overshadowing awareness of the implications of getting it wrong. This study is an attempt to describe some of the many and various ways in which productions of The Merchant of Venice have either confronted or side-stepped the daunting theatrical challenge of presenting the most famous Jew in world literature in a play which, most especially in recent times, inescapably lives in the shadow of history. I intend in this performance history to allude to as wide a variety of Shylocks as seems relevant and this will mean paying attention to every production of the play in the Shakespeare Memorial Theatre and the Royal Shakespeare Theatre, as well as every major production in London since the time of Irving. For reasons of practicality, I have confined my study to the United Kingdom1 and make few allusions to productions which did not originate in either Stratford or London. -
The One-Line Review Roxy
Share Report Abuse Next Blog» Create Blog Sign In The One-Line Review A concise guide to the cinematic and televisual arts Search Roxy (2010) powered by Iain Stott USA Short Film Writer/Director/Cinematographer: Shirley Petchprapa A...B..C...D...E...F...G..H...I J...K...L..M...N...O...P..Q..R Cast: Damien Puckler, Roxy Puckler S...T...U..V...W..X...Y...Z There are echoes of J.D. Salinger’s A Perfect Day for Bananafish (1948) in Shirley Petchprapa’s intensely sensual and ethereally The Year in Film beautiful self-financed short film, which wallows in the poetry of the Play for Today (1970-1984) every day, finding the beauty in acts as simple as a man watching Obscure, Forgotten, Unloved television, running a bath, and even just cleaning his teeth, whilst his Beyond the Canon dog, Roxy – the film’s real star – lolls around with effortless elegance. The 50 Greatest Films Iain.Stott 1000 Essential Films Hidden Gems Films of the Decade Lists, Collections, Top Tens, Home Older Post etc The Large Association of Movie Blogs LABELS Adam Elliot (5) Alan Bennett (7) Alan Bleasdale (2) Alan Clarke (5) Alastair Sim (4) Alec Guinness (3) Alexander Mackendrick (1) Alfred Hitchcock (7) Algeria (1) Alison Steadman (5) Amy Adams (3) Andrew Dickson (3) Angus MacPhail (3) Animated Feature Documentary (1) Animated Feature Film (20) Animated Short Film (21) Animated Short Televsion Film (1) Anthony Dod Mantle (6) Apichatpong Weerasethakul (2) Argentina (10) Arthur Askey (3) Astaire and Rogers (2) Atom Egoyan (4) Audrey Hepburn (1) Australia (18) Austria (14) -
File Stardom in the Following Decade
Margaret Rutherford, Alastair Sim, eccentricity and the British character actor WILSON, Chris Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17393/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/17393/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus 2S>22 Sheffield S1 1WB 101 826 201 6 Return to Learning Centre of issue Fines are charged at 50p per hour REFERENCE Margaret Rutherford, Alastair Sim, Eccentricity and the British Character Actor by Chris Wilson A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy September 2005 I should like to dedicate this thesis to my mother who died peacefully on July 1st, 2005. She loved the work of both actors, and I like to think she would have approved. Abstract The thesis is in the form of four sections, with an introduction and conclusion. The text should be used in conjunction with the annotated filmography. The introduction includes my initial impressions of Margaret Rutherford and Alastair Sim's work, and its significance for British cinema as a whole.