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Shakespeare's plays provide wonderfully challenging material for the film maker. While acknowledging that dramatic experiences for theatre and cinema audiences are significantly different, this book reveals some of the special qualities of cinema's dramatic language in the film adaptations of Shakespeare's plays by four directors - Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa - each of whom has a distinctly different approach to a film representation. Davies begins his study with a comparison of theatrical and cinematic space showing that the dramatic resources of cinema are essentially spatial. The central chapters focus on Laurence Olivier's Henry V, Hamlet and Richard III; Orson Welles' Macbeth, Othello and Chimes at Midnight; Peter Brook's King Lear and Akira Kurosawa's Throne of Blood. Davies discusses the dramatic problems posed by the source plays for these films for the film maker and he examines how these films influenced later theatrical stagings. He concludes with an examination of the demands that distinguish the work of the Shakespearean stage actor from that of his counterpart in film.
Taking an innovative approach to the life and legend of Marilyn Monroe (1926-1962), this biographical dictionary concentrates on her circle of friends, acquaintances and coworkers--1618 in all. Distilled from hundreds of celebrity biographies are references to, and quotes about, the iconic Hollywood sex symbol from such diverse personalities as architect Frank Lloyd Wright, Israeli diplomat Abba Eban, beat poet Jack Kerouac, novelist Somerset Maugham, jazz singer Ella Fitzgerald, counterculture guru Timothy Leary and evangelist Aimee Semple McPherson, to name but a few. All of these remarkable people have, in one way or another, crossed paths with the magnificent Monroe. The entries in this volume (with source listings for further reading and research) confirm the fact that Marilyn Monroe remains a figure of enduring fascination five decades after her death.
In François Truffaut’s opinion The Innocents was ‘the best English film after Hitchcock goes to America’. Tennessee Williams said of The Great Gatsby: ‘a film whose artistry even surpassed the original novel’. The maker of both films was Jack Clayton, one of the finest English directors of the post-war era and perhaps best remembered for the trail-blazing Room at the Top which brought a new sexual frankness and social realism to the British screen. This is the first full-length critical study of Clayton's work. The author has been able to consult and quote from the director's own private papers which illuminate Clayton’s creative practices and artistic intentions. In addition to fresh analyses of the individual films, the book contains new material on Clayton's many unrealised projects and valuably includes his previously unpublished short story ‘The Enchantment’ – as poignant and revealing as the films themselves. This is a personal and fascinating account of the career and achievement of an important, much-loved director that should appeal to students and film enthusiasts.
By exploring a range of films about American women, this book offers readers an opportunity to engage in both history and film in a new way, embracing representation, diversity, and historical context. Throughout film history, stories of women achieving in American history appear few and far between compared to the many epic tales of male achievement. This book focuses largely on films written by women and about women who tackled the humanist issues of their day and mostly won. Films about women are important for all viewers of all genders because they remind us that the American Experience is not just male and white. This book examines 10 films, featuring diverse depictions of women and women's history, and encourages readers to discern how and where these films deviate from historical accuracy. Covering films from the 1950s all the way to the 2010s, this text is invaluable for students and general readers who wish to interrogate the way women's history appears on the big screen.
Using the Bible (especially the Gospels) as a source of consolation for the believed potential devastation that would result in the Wrath of God once seen imminent through Global Warming, one is led through by the author to view positive signs of God’s mercy and a new City of God that the Bible promises in Revelations. The dolphins trapped in our rivers were our delight as we witnessed the twists and turns brought upon life through our eco-systems and society. Also a film-maker, Risoli-Black details this additional dialog in the novel with anecdotes and criticisms of films of the fifties, sixties and seventies when one had choices of decent role models with ideal standards, not idols that led away from God. WRONG TURN: The Fifth Season of Love is a novel of true events where the townsfolk are the heavies that recall plots like Peyton Place and Town Without Pity. Also includes the novella, “The Song of the Bow” about the love between Jonathan and David, a love greater than the love of women.
Lee Marvin did not receive his first starring film role until he was 40, but in three short years--following the successes of Cat Ballou (for which he won the Academy Award as Best Actor), The Professionals and especially The Dirty Dozen--he was the most popular film actor in America. Marvin was a fascinating man, a loving husband and father, and one of the most natural, effective actors of his time. This is a comprehensive reference of the Oscar-winning actor's work. It includes biographical information on Marvin, an analysis of each of his 64 movies, chapters on his two television shows (M Squad and Lawbreaker), a listing of his television appearances, and a complete filmography (which includes video availability). The work is supplemented with dozens of photographs and film stills.
The Hollywood "sex comedy"--a feature-length film in which sex motivates the storyline and the laughs are triggered by sexual situations--came into its own with the 1953 release of the once-controversial The Moon Is Blue. That film received very positive critical and audience response despite being denied a seal of approval from the Production Code Administration and receiving a "Condemned" rating from the Legion of Decency. (These two formidable watchdog agencies would continue to be challenged--and audiences would continue to be convulsed--by the abundance of sex comedies still to come.) The present informal survey focuses on 25 selected examples of the genre, released between 1953 and 1964. Along with such familiar works as The Seven Year Itch, The Tender Trap, Pillow Talk and Kiss Me, Stupid, several lesser-known sex comedies like I Married a Woman, The Tunnel of Love, Happy Anniversary and Period of Adjustment are documented, analyzed and placed in context with their times. Some are masterpieces, others mildly amusing and a few downright awful, but all are fascinating artifacts of a bygone era in popular entertainment.
This first in-depth Ryan work has two parts: The biographical provides behind-the-scenes information and never-before-published interviews with Ryan's children. The reference part contains a filmography (70+ films: plot lines, themes, technical aspects, casts, credits, criticism), and a listing of stage appearances, television performances, narrations, guest appearances, recordings and videocassettes.