DOCSLIB.ORG

October 11, 2011 (XXIII:7) Arthur Penn, BONNIE and CLYDE (1967, 112 Min)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
October 11, 2011 (XXIII:7) Arthur Penn, BONNIE and CLYDE (1967, 112 Min) October 11, 2011 (XXIII:7) Arthur Penn, BONNIE AND CLYDE (1967, 112 min) Directed by Arthur Penn Writing credits David Newman & Robert Benton and Robert Towne (uncredited) Produced by Warren Beatty Original Music by Charles Strouse Cinematography by Burnett Guffey Film Editing by Dede Allen Art Direction by Dean Tavoularis Costume Design by Theadora Van Runkle Earl Scruggs....composer: Foggy Mountain Breakdown Alan Hawkshaw....musician: "The Ballad of Bonnie and Clyde" Warren Beatty...Clyde Barrow Faye Dunaway...Bonnie Parker Michael J. Pollard...C.W. Moss Gene Hackman...Buck Barrow Estelle Parsons...Blanche Denver Pyle...Frank Hamer DAVID NEWMAN (February 4, 1937, New York City, New York Dub Taylor...Ivan Moss – June 27, 2003, New York City, New York) has 18 writing Evans Evans...Velma Davis credits: 2000 Takedown, 1997 “Michael Jackson: His Story on Gene Wilder...Eugene Grizzard Film - Volume II”, 1985 Santa Claus, 1984 Sheena: Queen of the Jungle, 1983 Superman II, 1982 Still of the Night, 1982 Jinxed!, Oscars for Best Actress in a Supporting Role (Estelle 1980 Superman II, 1978 Superman, 1975 “Superman”, 1972 Bad Parsons)and Best Cinematography (Burnett Guffey). Selected for Company, 1972 Oh! Calcutta!, 1972 What's Up, Doc?, 1970 National Film Registry – 1992 There Was a Crooked Man..., and 1967 Bonnie and Clyde. BONNIE PARKER (October 1, 1910-May 23, 1934). ROBERT BENTON (September 28, 1932, Waxahachie, Texas – ) won Best Writing Oscars for Places in the Heart (1984) and (March 24, 1909-May 23-1934). Kramer v. Kramer (1979); he also won a Best Director Oscar for Kramer v. Kramer. Some of his other writing credits are: 1994 ARTHUR PENN (September 27, 1922, Philadelphia, Pennsylvania Nobody's Fool, 1984 Places in the Heart, 1982 Still of the Night, – September 28, 2010, Manhattan, New York City, New York) 1978 Superman, 1977 The Late Show, 1975 “Superman”, 1972 has only 27 director credits, several of them for TV series: 2001 Bad Company, 1972 Oh! Calcutta!, 1972 What's Up, Doc?, 1970 “100 Centre Street”, 1996 “Inside”, 1995 Lumière and Company, There Was a Crooked Man..., and 1967 Bonnie and Clyde. 1989 Penn & Teller Get Killed, 1985 Target, 1981 Four Friends, 1976 The Missouri Breaks, 1975 Night Moves, 1970 Little Big ROBERT TOWNE (November 23, 1934, Los Angeles, Man, 1969 Alice's Restaurant, 1967 Bonnie and Clyde, 1966 The California), an uncredited writer on this film, won Best Original Chase, 1965 Mickey One, 1962 The Miracle Worker, 1958 The Screenplay Oscar for Chinatown (1974). Some of his other 36 Left Handed Gun, 1957-1958 “Playhouse 90” (5 episodes), 1955- films are 2000 Mission: Impossible II, 1998 Without Limits, 1996 1956 “Playwrights '56” (5 episodes), 1953-1955 “The Philco- Mission: Impossible, 1993 The Firm, 1988 Tequila Sunrise, 1988 Goodyear Television Playhouse” (12 episodes), 1953-1955 Frantic, 1987 Tough Guys Don't Dance, 1986 8 Million Ways to “Goodyear Playhouse” (5 episodes), and 1953 “The Gulf Die, 1984 Greystoke: The Legend of Tarzan, Lord of the Apes, Playhouse” (6 episodes). 1982 Personal Best, 1978 Heaven Can Wait, 1977 Orca, 1976 Penn—BONNIE AND CLYDE—2 The Missouri Breaks, 1975 Shampoo, 1974 The Yakuza, 1974 Chinatown, 1974 The Parallax View, 1973 The Last Detail, 1972 WARREN BEATTY (March 30, 1937, Richmond, Virginia) won a The New Centurions, 1972 Cisco Pike, 1971 Drive, He Said, best director Oscar for Reds (1981). He has 29 acting credits, 1968 Villa Rides, and 1967 Bonnie and Clyde. among them, 2001 Town & Country, 1998 Bulworth, 1991 Bugsy, 1990 Dick Tracy, 1987 Ishtar, 1981 Reds, 1978 Heaven BURNETT GUFFEY (May 26, 1905, Del Rio, Tennessee – May Can Wait, 1975 The Fortune, 1975 Shampoo, 1974 The Parallax 30, 1983, Goleta, California) won best cinematography Oscars View, 1971 $, 1971 McCabe & Mrs. Miller, 1970 The Only for this film and From Here to Eternity (1953). He shot 95 films, Game in Town, 1967 Bonnie and Clyde, 1965 Promise Her some of which were 1971 The Steagle, 1970 The Great White Anything, 1965 Mickey One, 1964 Lilith, 1962 All Fall Down, Hope, 1970 Suppose They Gave a War and Nobody Came?, 1969 1961 The Roman Spring of Mrs. Stone, 1961 Splendor in the The Madwoman of Chaillot, 1969 The Learning Tree, 1967 The Grass, 1959-1960 The Many Loves of Dobie Gillis (6 episodes), Ambushers, 1967 Bonnie and Clyde, 1967 How to Succeed in 1957 “Studio One in Hollywood”, and 1957 “Kraft Theatre”. Business Without Really Trying, 1965 King Rat, 1962 Kid Galahad, 1962 Birdman of Alcatraz, 1961 Mr. Sardonicuc, 1960 FAYE DUNAWAY (January 14, 1941, Bascom, Florida) won a Let No Man Write My Epitaph, 1959 They Came to Cordura, best actress Oscar for Network (1976). She has 111 acting 1959 Gidget, 1958 “The Donna Reed Show”, 1957 The Strange credits, some of which are 2009 The Bait, 2009 “Grey's One, 1956 The Harder They Fall, 1955 The Violent Men, 1953 Anatomy”, 2007 Cougar Club, 2006 Rain, 2006 “CSI: Crime From Here to Eternity, 1951 Sirocco, 1950 In a Lonely Place, Scene Investigation”, 2002/I The Calling, 1999 The Thomas 1949 And Baby Makes Three, 1949 All the King's Men, 1949 Crown Affair, 1997 In Praise of Older Women, 1996 The Knock on Any Door, 1947 Johnny O'Clock, 1946 A Close Call Chamber, 1994 Don Juan DeMarco, 1993 “Columbo”, 1993 “It for Boston Blackie, 1945 The Gay Senorita, 1945 Eadie Was a Had to Be You” (6 episodes), 1993 The Temp, 1990 The Lady, and 1944 U-Boat Prisoner. Handmaid's Tale, 1987 Barfly, 1984 Supergirl, 1981 Mommie Dearest, 1980 The First Deadly Sin, 1979 The Champ, 1978 DEDE ALLEN (December 3, 1923, Cleveland, Ohio – April 17, Eyes of Laura Mars, 1976 Voyage of the Damned, 1976 Network, 2010, Los Angeles, 1975 Three Days of the California) edited 32 films, Condor, 1974 The some of which were 2008 Towering Inferno, 1974 Fireflies in the Garden, 2004 Chinatown, 1973 The The Final Cut, 2000 Wonder Three Musketeers: The Boys, 1991 The Addams Queen's Diamonds, 1971 Family, 1990 Henry & June, The Deadly Trap, 1970 1989 Let It Ride, 1988 The Puzzle of a Downfall Milagro Beanfield War, 1986 Child, 1970 Little Big Off Beat, 1985 The Breakfast Man, 1969 The Club, 1984 Mike's Murder, Arrangement, 1968 The 1984 Harry & Son, 1981 Thomas Crown Affair, Reds, 1978 The Wiz, 1977 1967 Bonnie and Clyde, Slap Shot, 1976 The Missouri 1967 The Happening, and Breaks, 1975 Dog Day 1967 Hurry Sundown. Afternoon, 1975 Night Moves, 1973 Serpico, 1972 MICHAEL J. POLLARD Slaughterhouse-Five, 1970 (May 30, 1939, Passaic, Little Big Man, 1969 Alice's New Jersey) has 1007 Restaurant, 1968 Rachel, acting credits, some of Rachel, 1967 Bonnie and Clyde, 1963 America, America, 1961 which are 2011 Sunburnt Angels, 2000 Forever Lulu, 2000 The Hustler, 1959 Odds Against Tomorrow, and 1948 Because of Danny and Max, 1998 The Unknown Cyclist, 1998 Merchants of Eve. Venus, 1993 Arizona Dream, 1991 Heartstopper, 1991 “The Toxic Crusaders” (13 episodes), 1990 Dick Tracy, 1990 Dark DEAN TAVOULARIS (May 18, 1932, Lowell, Massachusetts) won Angel, 1989 Tango & Cash, 1988 American Gothic, 1987 a Best Art Directions Oscar for The Godfather: Part II (1974). Roxanne, 1986 The Patriot, 1980 Melvin and Howard, 1970 He was production designer for 31 films, among them, 2011 Little Fauss and Big Halsy, 1967 Bonnie and Clyde, 1967 “The Carnage, 2001 Angel Eyes, 1998 Bulworth, 1996 Jack, 1993 Girl from U.N.C.L.E.”, 1966 “I Spy”, 1966 The Wild Angels, Rising Sun, 1992 The Godfather Trilogy: 1901-1980 (video), 1966 “Lost in Space”, 1959 “The Many Loves of Dobie Gillis”, 1990 The Godfather: Part III, 1988 Tucker: The Man and His and 1959 “Alfred Hitchcock Presents”. Dream, 1987 Gardens of Stone, 1986 Peggy Sue Got Married, 1983 Rumble Fish, 1983 The Outsiders, 1982 Hammett, 1982 GENE HACKMAN (January 30, 1930, San Bernardino, California) One from the Heart, 1979 Apocalypse Now, 1978 The Brink's won a best supporting actor Oscar for Unforgiven (1992) and a Job, 1975 Farewell, My Lovely, 1974 The Godfather: Part II, best actor Oscar for The French Connection (1971); he had three 1974 The Conversation, 1972 The Godfather, 1970 Little Big other Oscar nominations, including best supporting actor for his Man, 1970 Zabriskie Point, and1968 Candy. role in Bonnie and Clyde (1967). He has 100 acting credits, some Penn—BONNIE AND CLYDE—3 of which are :2004 Welcome to Mooseport, 2003 Runaway Jury, Grizzly Adams (37 episodes), 1976 Buffalo Bill and the Indians, 2001 Behind Enemy Lines, 2001 The Royal Tenenbaums, 2001 or Sitting Bull's History Lesson, 1976 “Petrocelli”, 1974 The Life Heartbreakers, 2001 The Mexican, 2000 Under Suspicion, 1998 and Times of Grizzly Adams, 1974 “The Manhunter”, 1973-1974 Enemy of the State, 1996 The Chamber, 1996 Extreme Measures, “Kung Fu”, 1974 “Cannon”, 1956-1973 “Gunsmoke” (14 1996 The Birdcage, 1995 Get Shorty, 1995 Crimson Tide, 1995 episodes), 1972 “The Waltons”, 1961-1972 “Bonanza” (8 The Quick and the Dead, 1994 Wyatt Earp, 1993 Geronimo: An episodes), 1967 “The High Chaparral”, 1967 Bonnie and Clyde, American Legend, 1993 The Firm, 1992 Unforgiven, 1991 1967 Tammy and the Millionaire, 1967 Welcome to Hard Times, Company Business, 1991 Class Action, 1990 Postcards from the 1963-1966 “The Andy Griffith Show” (6 episodes), 1953-1966 Edge, 1990 Loose Cannons, 1989 The Package, 1988 Mississippi “Death Valley Days” (7 episodes), 1958-1966 “Perry Mason” (6 Burning, 1988 Full Moon in Blue Water, 1988 Another Woman, episodes), 1966 Gunpoint, 1965-1966 “Tammy” (26 episodes), 1988 Bat*21, 1987 No Way Out, 1987 Superman IV: The Quest 1964 “Twilight Zone”, 1964 “Dr. Kildare”, 1963 “Rawhide”, for Peace,
Load more

Recommended publications
  • University of Florida Thesis Or Dissertation Formatting
    THE TELEVISED SOUTH: AN ANALYSIS OF THE DOMINANT READINGS OF SELECT PRIME-TIME PROGRAMS FROM THE REGION By COLIN PATRICK KEARNEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2020 © 2020 Colin P. Kearney To my family ACKNOWLEDGMENTS A Doctor of Philosophy signals another rite of passage in a career of educational learning. With that thought in mind, I must first thank the individuals who made this rite possible. Over the past 23 years, I have been most fortunate to be a student of the following teachers: Lori Hocker, Linda Franke, Dandridge Penick, Vickie Hickman, Amy Henson, Karen Hull, Sonya Cauley, Eileen Head, Anice Machado, Teresa Torrence, Rosemary Powell, Becky Hill, Nellie Reynolds, Mike Gibson, Jane Mortenson, Nancy Badertscher, Susan Harvey, Julie Lipscomb, Linda Wood, Kim Pollock, Elizabeth Hellmuth, Vicki Black, Jeff Melton, Daniel DeVier, Rusty Ford, Bryan Tolley, Jennifer Hall, Casey Wineman, Elaine Shanks, Paulette Morant, Cat Tobin, Brian Freeland, Cindy Jones, Lee McLaughlin, Phyllis Parker, Sue Seaman, Amanda Evans, David Smith, Greer Stene, Davina Copsy, Brian Baker, Laura Shull, Elizabeth Ramsey, Joann Blouin, Linda Fort, Judah Brownstein, Beth Lollis, Dennis Moore, Nathan Unroe, Bob Csongei, Troy Bogino, Christine Haynes, Rebecca Scales, Robert Sims, Ian Ward, Emily Watson-Adams, Marek Sojka, Paula Nadler, Marlene Cohen, Sheryl Friedley, James Gardner, Peter Becker, Rebecca Ericsson,
    [Show full text]
  • Locations of Motherhood in Shakespeare on Film
    Volume 2 (2), 2009 ISSN 1756-8226 Locations of Motherhood in Shakespeare on Film LAURA GALLAGHER Queens University Belfast Adelman’s Suffocating Mothers (1992) appropriates feminist psychoanalysis to illustrate how the suppression of the female is represented in selected Shakespearean play-texts (chronologically from Hamlet to The Tempest ) in the attempted expulsion of the mother in order to recover the masculine sense of identity. She argues that Hamlet operates as a watershed in Shakespeare’s canon, marking the prominent return of the problematic maternal presence: “selfhood grounded in paternal absence and in the fantasy of overwhelming contamination at the site of origin – becomes the tragic burden of Hamlet and the men who come after him” (1992, p.10). The maternal body is thus constructed as the site of contamination, of simultaneous attraction and disgust, of fantasies that she cannot hold: she is the slippage between boundaries – the abject. Julia Kristeva’s theory of the abject (1982) ostensibly provides a hypothesis for analysis of women in the horror film, yet the theory also provides a critical means of situating the maternal figure, the “monstrous- feminine” in film versions of Shakespeare (Creed, 1993, 1996). Therefore the choice to focus on the selected Hamlet , Macbeth , Titus Andronicus and Richard III film versions reflects the centrality of the mother figure in these play-texts, and the chosen adaptations most powerfully illuminate this article’s thesis. Crucially, in contrast to Adelman’s identification of the attempted suppression of the “suffocating mother” figures 1, in adapting the text to film the absent maternal figure is forced into (an extended) presence on screen.
    [Show full text]
  • Haiirlfphtpr Hpralji for a Dinah ) Manchester — a City of Village Charm Ntaln- a Risk 30 Cents >D the Saturday, Nov
    lostt: n.) (In (CC) <^Ns >ldfa- fendt. Ovaf' » ' An K>IV8S world. nvtta* »ii. (90 n Plc- :tantly leen- HaiirlfpHtPr HpralJi for a Dinah ) Manchester — A City of Village Charm ntaln- a risk 30 Cents >d the Saturday, Nov. 14.1987 y with n. W ill O 'Q ill ytallar lapra- Y> dfl* Tiny ‘FIRST STEF BY ORTEGA i in an tty by , John Contras I Evil' ito an f Den- criticize 1971. peace plan 1/ WASHINGTON (AP) — Nicara­ guan President Daniel Ortega on Friday laid out a detailed plan for reaching a cease-fire in three weeks with the Contras fighting his leftist government and a mediator agreed to carry the proposal to the U.S.-backed rebels. Ortega, indicating flexibility, called his plan “ a proposal, not an ultimatum." Contra leaders, react­ ing to news reports in Miami, criticized the plan and termed it "a proposal for anorderly surrender.” Ortega's 11-point plan was re­ ceived by Nicaraguan Cardinal Miguel Obando y Bravo, who agreed to act as a mediator between the two sides. The prelate planned to convey Ortega’s offer to the Contras and seek a response, opening cease-fire negotiations. The plan calls for a cease-fire to begin on Dec. 5 and for rebel troops inside Nicaragua to move to one of three cease-fire zones. The rebels would lay down their arms on Jan. 5 before independent observers, and then be granted amnesty. The plan specifies that Contras in the field are not to get any military supplies during the cease-fire, but would allow food, clothing and medical care to be provided them by a neutral international agency.
    [Show full text]
  • The Appropriateness of William Shakespeare's
    T.C. SELÇUK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ İNGİLİZ DİLİ VE EDEBİYATI ANA BİLİM DALI İNGİLİZ DİLİ VE EDEBİYATI BİLİM DALI THE APPROPRIATENESS OF WILLIAM SHAKESPEARE'S RICHARD III TO FILM ADAPTATION YÜKSEK LİSANS TEZİ DANIŞMAN YRD. DOÇ. DR. GÜLBÜN ONUR HAZİRLAYAN ŞEFİKA BİLGE CANTEKİNLER KONYA, 2005 ÖZET 1930ların başında Hollywood ile birlikte yükselen Amerikan Film Endüstrisi vazgeçilmez kaynakları arasında ünlü İngiliz oyun yazarı William Shakespeare'in eserlerini ilk sıraya oturtmuştur. Sessiz sinemadan günümüz üç boyutlu animasyon film dönemine geçişte klasik Shakespeare oyunları da her yeni yönetmen ve yapımcıyla birlikte farklı bir boyut kazanmıştır. Tarihsel bir trajedi olan Shakespeare'in III. Richard adlı oyunu ilk oynandığı 1590lardan günümüze kadar geçen sürede en çok sahnelenen ama en az anlaşılan oyunlardan biri olmuştur. Buna bağlı olarak III. Richard'ın seçilen üç film uyarlaması oyunu farkh yonlerden ele almışlardır. İlk film İngiliz aktör- yönetmen Sir Laurence Oliver'in 1955 film uyarlaması III. Richard, ikincisi İngiliz yönetmen Richard Loncraine'in İngiliz aktör-yönetmen Ian McKellen ile birlikte çektiği 1995 yapımı III. Richard ve sonuncusu da Amerikalı aktör Al Pacino'nun yönetip başrol oynadığı Looking For Richard (Richard'ı Aramak) adlı filmidir. Bu çalışma, seçilen üç sahne ile oyunun kahramanı olan III. Richard'ın yükseliş ve çöküşünü temel alarak üç film uyarlaması arasındaki farklılıkları değerlendirmektedir. Ayrıca, a9ihs monoloğu, kur yapma, baştan çıkarma ile savaş sahneleri incelenerek bunların Shakespeare'in metnini ne derece yansıttıkları ve bu sahnelerin birbirinden nasıl farklı olarak ele alındığını belirtmektedir. ABSTRACT Within the rise of Hollywood productions at the beginning of the 1930s, American Film Industry put the works of famous British playwright William Shakespeare at its one of the most indispensable sources.
    [Show full text]
  • Kenyon Collegian College Archives
    Digital Kenyon: Research, Scholarship, and Creative Exchange The Kenyon Collegian College Archives 2-3-1983 Kenyon Collegian - February 3, 1983 Follow this and additional works at: https://digital.kenyon.edu/collegian Recommended Citation "Kenyon Collegian - February 3, 1983" (1983). The Kenyon Collegian. 846. https://digital.kenyon.edu/collegian/846 This Book is brought to you for free and open access by the College Archives at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in The Kenyon Collegian by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. Vjumi win -- iiini ( riMitiiMiMiiiiitrtMiiimMiniiia ijljumjhjimw mm pera 915ork!)op of $Ken)on Sotlege Men take triangular meet 6 tafervieiv ivifh presents (Silbert onb Suttiuan'3 iu- - of 8 u President PQ princess U w National Public Radio CO Ph E--i CO on television to-.- ? and society February 4. 5. &. 6 at w tf)eS?itt Ibeatre a. PL. 8 CO Volume CX, Number 15 Thursday, February 3, 1983 Established 1 1856 NYU suit on copyright violation cramps course reading selections By Lynn Travers each use of the materials. This cost publishers and obtain their per- for sale, with three on reserve in the would have to be passed on to the mission before the copies are needed. library. Although the book could be A suit brought against New York 01ftf: student, and in some cases could She claims that the Copy Center is reproduced relatively inexpensively, University by nine publishers late last i . raise the cost of a reprint package "extremely strict" about following Clor says that now "It couldn't be December claiming copyright in- considerably.
    [Show full text]
  • Billy the Kid and the Lincoln County War 1878
    Other Forms of Conflict in the West – Billy the Kid and the Lincoln County War 1878 Lesson Objectives: Starter Questions: • To understand how the expansion of 1) We have many examples of how the the West caused other forms of expansion into the West caused conflict with tension between settlers, not just Plains Indians – can you list three examples conflict between white Americans and of conflict and what the cause was in each Plains Indians. case? • To explain the significance of the 2) Can you think of any other groups that may Lincoln County War in understanding have got into conflict with each other as other types of conflict. people expanded west and any reasons why? • To assess the significance of Billy the 3) Why was law and order such a problem in Kid and what his story tells us about new communities being established in the law and order. West? Why was it so hard to stop violence and crime? As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. This was a time of robberies, range wars and Indian wars in the wide open spaces of the West. Gradually, the forces of law and order caught up with the lawbreakers, while the US army defeated the Plains Indians. As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other.
    [Show full text]
  • Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23Rd, 2019
    Embargoed Until 12:00PM ET / 9:00AM PT on Tuesday, April 23rd, 2019 FOR IMMEDIATE RELEASE 24th ANNUAL NANTUCKET FILM FESTIVAL ANNOUNCES FEATURE FILM LINEUP DANNY BOYLE’S YESTERDAY TO OPEN FESTIVAL ALEX HOLMES’ MAIDEN TO CLOSE FESTIVAL LULU WANG’S THE FAREWELL TO SCREEN AS CENTERPIECE DISNEY•PIXAR’S TOY STORY 4 PRESENTED AS OPENING FAMILY FILM IMAGES AVAILABLE HERE New York, NY (April 23, 2019) – The Nantucket Film Festival (NFF) proudly announced its feature film lineup today. The opening night selection for its 2019 festival is Universal Pictures’ YESTERDAY, a Working Title production written by Oscar nominee Richard Curtis (Four Weddings and a Funeral, Love Actually, and Notting Hill) from a story by Jack Barth and Richard Curtis, and directed by Academy Award® winner Danny Boyle (Slumdog Millionaire, Trainspotting, 28 Days Later). The film tells the story of Jack Malik (Himesh Patel), a struggling singer-songwriter in a tiny English seaside town who wakes up after a freak accident to discover that The Beatles have never existed, and only he remembers their songs. Sony Pictures Classics’ MAIDEN, directed by Alex Holmes, will close the festival. This immersive documentary recounts the thrilling story of Tracy Edwards, a 24-year-old charter boat cook who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Yacht Race. The 24th Nantucket Film Festival runs June 19-24, 2019, and celebrates the art of screenwriting and storytelling in cinema. A24’s THE FAREWELL, written and directed by Lulu Wang, will screen as the festival’s Centerpiece film.
    [Show full text]
  • It's a Conspiracy
    IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse.
    [Show full text]
  • Dear Elizabeth Written by Sarah Ruhl Directed by Kate Whoriskey
    For Immediate Release Contact: Vivacity Media Group | 212-812-1483 Leslie Papa, [email protected] Whitney Holden Gore, [email protected] WOMEN’S PROJECT THEATER ANNOUNCES INITIAL CASTING FOR THE NEW YORK PREMIERE OF DEAR ELIZABETH WRITTEN BY SARAH RUHL DIRECTED BY KATE WHORISKEY ROTATING CAST OF LUMINARIES INCLUDES: DAVID AARON BAKER, KATHLEEN CHALFANT, RINDE ECKERT, CHERRY JONES, MIA KATIGBAK, ELLEN MCLAUGHLIN, J. SMITH-CAMERON, JOHN DOUGLAS THOMPSON, HARRIS YULIN AND POLLY NOONAN ADDITIONAL CASTING SOON TO BE ANNOUNCED OCTOBER 26 – DECEMBER 5, 2015 **TICKETS ARE NOW ON-SALE** (New York, NY) Women’s Project Theater, under the leadership of Producing Artistic Director Lisa McNulty and Managing Director Maureen Moynihan, is thrilled to announce the rotating casts for the New York premiere of DEAR ELIZABETH, the inaugural production at the WP’s new theatrical home the McGinn/Cazale Theatre, 2162 Broadway (at 76th Street). Written by two-time Pulitzer Nominee and Tony Nominee Sarah Ruhl (The Oldest Boy, In the Next Room, or the vibrator play) and directed by Kate Whoriskey (Ruined, Sweat), this insightful and impassioned examination of the famed correspondence between Elizabeth Bishop and Robert Lowell - two of the twentieth century’s most brilliant poets - will be presented from October 26 through December 5, 2015 with six rotating casts of stage and screen luminaries. DEAR ELIZABETH tells a tale of unconventional friendship and intimacy that spanned thirty years and more than 400 letters, with postmarks from Maine to Key West, from London to South America. This portrayal of Bishop and Lowell's lives, work, and the true nature of friendship will be performed from October 26 – 31 by WP Theater founding artist, Tony Award nominee and Drama Desk, Obie & Outer Critics Circle Award winner Kathleen Chalfant (Wit, Angels in America) & Drama Desk nominee Harris Yulin (Hedda Gabler, Diary of Anne Frank); from November 2 – 7 by Obie Award & Drama Desk Award winner J.
    [Show full text]
  • Season 5 Article
    N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s.
    [Show full text]
  • The Sing Sing Revolt the Incarceration Crisis and Criminal Justice Liberalism in the 1980S
    The Sing Sing Revolt The Incarceration Crisis and Criminal Justice Liberalism in the 1980s Lee Bernstein As 1983 began, New York’s prisons reached a chokepoint: in the past decade the inmate population went from 12,444 to 27,943. Mario Cuomo, who would become the nation’s most prominent liberal politician after delivering the keynote address at the 1984 Democratic National Convention, prepared to take the oath of office to become the state’s fifty-second governor.1 Corrections officials scrambled to find beds for four hundred new people each week in crumbling facilities and repurposed public buildings. This overcrowding occurred, to different degrees, throughout the system—city and county jails, juvenile facilities, and in state-run facilities variously classified minimum, medium, and maximum security. Multi- ple factors converged to create this overcrowding, including the war on drugs, the victims’ rights movement, and new “truth in sentencing” laws.2 In addition, declining tax revenues and the economic struggles of the state’s voters limited the state’s ability to fund new prison construction and to accommodate the educational, therapeutic, and social needs of its bur- geoning prison population. Access to basic needs like warm clothing, blankets, and mail became constrained. The Department of Correctional Services (DOCS) was character- ized by laughably inadequate grievance procedures, insufficiently staffed facilities, anemic responses to ongoing labor-management disputes, rifts between uniformed and civilian employees, and failure to address racist and sexist barriers to fair treatment for employees and the incarcerated population. Recent memory generated a foreboding sense of where all this would lead.
    [Show full text]
  • Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
    BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre.
    [Show full text]